
Glass JL32_0_ 
Book , K <V 



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in 2011 with funding from 
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PRACTICAL BOOKS FOR 

Decorators and Painters 

By A. ASHMUN KELLY 



THE EXPERT CALCIMINER. A Complete Working Manual for 
Interior Decorators. Containing full directions for mixing and 
applying all kinds of water paints and colors to interior walls and 
ceilings, including hot and cold water calcimines, flat wall paints, 
whitewash and tints, etc. Also, how to prepare and apply water 
colors of various kinds to exterior surfaces, including casein water 
paints and other water paints, with formulas for interior and ex- 
terior work, besides much practical information. Cloth binding. 

net, $1.50 

THE EXPERT ESTIMATOR AND BUSINESS BOOK FOR PAINT- 
ERS. The reception which it met at its initial appearance, and the 
steady call for it, have rendered frequent reprinting necessary, and 
the present is an entirely new edition, the book being revised so as 
to conform more closely to present day prices and terms of labor. 
Cloth binding net, $1.50 

THE EXPERT HOUSE PAINTER. (Second Edition, Revised and 
Entirely Rewritten.) A reliable guide for the experienced house 
painter and manual of instruction for the less expert workman, 
containing full instructions for doing every description of painting 
done by house painters, together with valuable and interesting 
information relating to the nature and sources of the liquids and 
pigments used in the painting trade. Formulas given for various 
paint mixtures, texts for ascertaining purity and value of materials, 
how to choose and combine proper colors in their true scientific 
relations, etc. Cloth binding net, $3.00 

THE EXPERT INTERIOR DECORATOR. (Third Edition.) A 
manual of reference for the expert decorator and instruction for the 
beginner in the art of painting and decorating the walls of private 
residences, public buildings, churches, halls, lodge rooms, etc. Cloth 
binding : net, $2.50 

THE EXPERT PAPER-HANGER. (Second Edition, Revised and 
Improved.) Being a complete exposition of the art and practice 
of decorating walls and ceilings with wall paper, woven fabrics, 
and other wall coverings, including a glossary of trade terms and 
handy table for estimating. Also a complete price list for hanging. 
Cloth binding net, $2.50 



THE EXPERT PAINT MIXER. Designed for use of house and struc- 
tural painters. Giving a course of instruction in the preparation 
of paints used for interior and exterior work, with directions for 
applying them, and with which course are included clear and helpful 
observations on the theory, nature, and origin of color, descriptions 
of bases, pigments, and liquids employed in the compounding of 
paints, with many useful tables and suggestions of a practical 
nature. Cloth binding net, $1.25 

THE EXPERT SIGN PAINTER. (Second Edition.) A manual of 
instruction for the beginner and a handbook for the practical 
letterer or sign painter. Giving the methods of the most expert 
sign artists, with plates of all the principal alphabets used, with 
many other illustrations; the former work revised and enlarged, 
with much new and original matter. Cloth binding. . .net, $3.00 

THE EXPERT WOOD FINISHER. A text book for the guidance of 
the expert workman and manual of instruction for the learner. Third 
Edition. Entirely rewritten and brought down to date, with much 
new matter and the elimination of old, making the work a thor- 
oughly reliable source of practical information for the wood finish- 
ing trades. Cloth binding net, $3.00 

THE STANDARD GRAINER, STAINER AND MARBLER. A new 

and complete exposition of the art and practice of imitating various 
fine woods with paints and stains and of imitating the common and 
rare marbles, with numerous illustrations in black and color. Cloth 
binding net, $2.00 

THE PAINTING TRADE HAND-BOOK. Being a full synopsis of all 
the various parts of the trade covered by the general term of house 
painting, with definitions of technical terms in use in the trade, sta- 
tistics of particular interest to those engaged in the business as master 
employers, as well as to the journeyman. Classified information 
pertaining to the nature and uses of various paint and other ma- 
terials employed. Methods of estimating on work, instructions in 
shop and office management, etc., etc., etc. Cloth binding. 

net, $1.50 

THE HOUSEHOLD PAINTER. Intended for the use of the house- 
hold, with full directions for painting, decorating, papering, cal- 
cimining, whitewashing, stencilling. Wood finishing, wood stain- 
ing, varnishing, etc., together with many useful notes on these sub- 
jects and on various matters of interest to the household manage- 
ment, the whole accompanied with illustrations and a complete 
index to every item of interest. Cloth binding net, $1.25 



Any of the books sent, postpaid, on receipt of price 

DAVID McKAY COMPANY PHILADELPHIA 



THE EXPERT 
HOUSE PAINTER 

SECOND EDITION 

(Revised and Entirely Rewritten) 

A Reliable Guide for the Experienced House Painter and 
Manual of Instruction for the Less Expert Workman, 
Containing Full Instructions for Doing Every De- 
scription of Painting Done by House Painters, 
Together with Valuable and Interesting In- 
formation Relating to the Nature and 
Sources of the Liquids and Pigments 
Used in the Painting Trade. 

Formulas Given for Various Paint Mixtures, Tests for 

Ascertaining Purity and Value of Materials, How 

to Choose and Combine Proper Colors in Their 

True Scientific Relations, etc. 



BY 

A. ASHMUN KELLY 

Author and Publisher of the EXPERT SERIES of Books 

for House and Sign Painters, Interior Decorators, 

Paper Hangers and Wood Finishers 




PHILADELPHIA 

DAVID McKAY COMPANY, Publishers 

604-608 South Washington Square 






Copyright, 1920 
By A. Ashmun Kelly 



Tc raplaca lost copy 



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CV 

I 



TABLE OF CONTENTS 



PAGE 

Painting on Wood 1 

Interior Painting — Dead Flat Work — Interior Oil Color 
Work — Egg-Shell Gloss Work — Mixing the Paint — 
First or Priming Coat Inside — Sandpapering, Puttying, 
etc. — Number of Coats Necessary — Manner of Applica- 
tion — Taking a Brush Full of Paint from the Pot — 
Formula for Flat Finish Work — Drawn Flatting. 

Enamel Painting 10 

Methods Described — Enamel Finish on Cypress — Notes 
on Enamels and Enamel Painting — Enamel Painting 
Footnotes. 

Painting Hard-finished Walls 18 

Methods Described — Sizes and Sizing Walls — Flat and 
Oil Work, etc. 

Wall Painting Notes 22 

Cleaning Walls — Wall Defects Treated — Painting over 
Calcimine — To Prevent Laps in Flat Oil Painting — 
Finishing Plaster Wall in Flat Oil Paint— Dead Flat 
Effect — Painting Sandfinished Walls. 

Flat Wall Paint . 27 

Description of Flat Wall Paint and Its Proper Appli- 
cation — Merits of Lithopone Wall Paint — Some of Its 
Demerits — Regarding Its Toxic Qualities — Lithopone — 
How Manufactured — Notes on Lithopone Wall Paint. 

Floor Painting 37 

Full Description of Methods for Painting All Kinds 
of Floors, Woods, etc. — Formulas for Floor Paint and 
Colors — Formula for Dust Color Paint — Repainting — 
Quick Methods of Painting, etc. 

Painting Exterior Woodwork 42 

White Pine—Thoroughly Described— Bass Wood— Pop- 



iv CONTENTS 

PAGE 

larWood — Cottonwood — Elm — Spruce — Redwood — Cy- 
press — Yellow or Hard Pine — How To Do Good Paint- 
ing — Some Paint Formulas — Old Interior Work — New 
Interior Work — For Either Old or New Work — For 
Exterior Painting — Old Exterior Work — New Exterior 
Work. 

Removing Old Paint 58 

The Charcoal Burner — How to Clean the Torch — How 
to Use Paint Removers — Alkali Removers — Care and 
Use of the Torch — The Law Regarding the Using of 
the Torch. 

Painting by Air-Spray Machine ... ... .. . . 62 

Painting Brick Walls 69 

New Walls — Preparing a Wall for Flat Paint — Brick 
Color Formulas — Red Brick — Pressed or Philadelphia 
Brick — Dark Brick Red — Cream Brick Color — Buff 
Colors — Painting Old Brick Work — Removing Old 
Paint — To Clean Pressed Brick Front — Green Mold, 
Mildew, etc. — Smoked Painted Brickwork — Brickwork 
Turns Black — Brick Efflorescence — Cleansing Brick- 
work. 

Painting Cement and Concrete 77 

Painting on Cement Work — How to Paint Concrete — 
The Priming Coat — The Body Coat — The Finishing 
Coat — Pigments Safe with Cement — Waterproof Con- 
crete Paints. 

Painting and Staining Shingles .... 81 

Concerning Creosote — Pigments to Use with It — Cheap 
Creosote Stain — How to Stain Shingles — Dipping Shin- 
gles — Interior Stains — Artistic Staining — What One 
Gallon of Stain Will Cover — Painting Shingle Roofs. 

Painting with Red Lead Paint 87 

How Made — Full Description of the Pigment and 
Methods of Mixing and Using — Preventing Settling — 
Red Lead Paint Formulas. 

Painting Tin and Other Metal Roofs ... 95 

The New Tin Roof— How to Clean and Paint— The 
Old Tin Roof— Old Gutters, Rainspouts, etc.— Painting 



CONTENTS 



Copper Roofing— Painting Zinc Roofing — Colors for 
Galvanized Iron Roofs. 



PAGE 



Painting and Bronzing Radiators .... 99 

Steam and Hot Water Radiators — Black Radiator Var- 
nish — Bronzing Steam Pipes and Radiators — Oxidizing 
a Radiator — Painting the Logs of Gas Radiators in 
Imitation of Wood — Bronzing Solution — Painting Ra- 
diator White — Painting Radiators. 

Painting Structural Steel Work . . . . 103 

The Protective Coating — Preparation of the Surface — 
Red Lead Paint — Removal of Rust — Second and Third 
Coats — Painting Iron Bridges for Railroads — Foot- 
notes on Iron Painting. 

Painting Galvanized Iron 108 

Treatment before Painting — Various Methods of Treat- 
ment for Enabling Paint to Stick — Why the Paint 
Scales — Number of Coats of Paint Required — Pigments 
Safe to Use — Repainting Galvanized Iron. 

Painting Metal Ceilings . ...... Ill 

Marine Painting 112 

Protective Paints for Bottoms — Boat Painting — Paint- 
ing Canvas Boat — The Best Paints to Use — U. S. Navy- 
Formula — Boiled Oil — Cork Varnish — Refinishing a 
Hardwood Deck — Marine Putty — Another Marine Putty 
— Paint for Torpedo Boats, etc. — Paint for Yachts — To 
Repaint a Boat — White Enamel or Gloss White — White 
for Exterior Work — Interior White Paint — Flat White 
Paint — Spar Color — Formulas for the Foregoing — Ox- 
ide Paint for Boat Topping. 

Window Glass, Glazing and Putty . . . 118 

Grades and Sizes of Glass — Glazing Window Glass — 
Glazing a Skylight — Putty Marks on Ground Glass — 
Hanging Sash Door Sash — What Is a Good Day's 
Work Glazing? — Amount of Putty Required — Remov- 
ing Old Glass— Scratches on Plate Glass — How Re- 
moved — Removing Old Putty. 

Glaziers' and Glass Cutters' Tools . . . 127 
Glaziers' Points — The Hacking Knife — Putty Knives — 



vi CONTENTS 

PAGE 

Glass Cutting Boards — The Glaziers' Rule — Plate Glass 
Cutters' Rule — Plate Glass Rollers — Plate Glass Pliers 
—The Steel Wheel Cutter— The Steel Wheel Rotary 
Cutter — Cutter for Plate Glass Factory Use — The Gla- 
ziers' Diamond — The Universal Glass Cutter — The Cir- 
cular Cutting Machine — Circle Extending Rod. 

Putty, Its Manufacture and Use . . . . 132 

Commercial Putty — Mail Order Putty — Shop Made 
Putty — Whiting — Remarks on Putty — Some Putty For- 
mulas — Skylight Putty — Greenhouse Putty — Soft Putty 
for Hot-house Sash — Very Hard Putty — Facing Putty 
— To Cause Putty to Harden — Coloring Putty — Non- 
Shrinking Putty — Swedish Putty — Sawdust Putty — 
Mastic Putty — Putty for the Motor Car. 

Sandpaper and Its Using . . ... . . 139 

Sandpaper and Using It. 

How to Bind or Bridle Brushes .... 142 

The Old Way, Advantages and Disadvantages — The 
Old Way Described, Illustrations — Tight Bridling, Its 
111 Effects— What Kind of Twine to Use— Bridling 
Sash Tool — Soaking New Brush, After Bridling — How 
to Bridle Short Bristled Brush — Rebridling the Brush. 

Scaffold and Ladder Work 145 

The Swinging Stage — How to Select Good Rope — 
How to Use Rope — Tying Knots — Description of the 
Various Knots — Illustrations — Making a Scaffold Hitch 
— Splicing Planks — Handy Scaffold Bracket — Raising a 
Ladder — Doing Steeple Work — Ladder Contrivances — 
Step-Ladder s — How to Carry a Pair of Steps. 

White Lead — Its Manufacture and Qualities 157 

What the Chemist Says White Lead Is — Methods of 
Manufacture Given — Adulteration — Pulp Lead — Test- 
ing by the Painter — The Chalking of White Lead Paint 
— Its Cause and Prevention, etc. 

Oxide of Zinc — Zinc White 167 

Chemical Description — Adulterations — The Differences 
in Zinc Whites — Thinning Zinc Paints — Proportions 
of Oil and Turpentine to Use — Driers for Zinc Paints 
— Mixing and Application — Footnotes on Zinc White. 



CONTENTS vii 

PAGE 

Pigments Used by Painters 176 

Purity of Tone — Umber — Vandyke Brown — Yellow 
Ocher — Golden Ocher, with Formula — Sienna — Chrome 
Yellow — Zinc Chrome Yellow — Genuine Vermilion — 
Chinese, English and French Vermilions — American 
Vermilion — Light Red — Indian Red — Tuscan Red — 
Genuine Tuscan Red — Imitation Tuscan Red — Venetian 
Red — Prussian Blue — Ultramarine Blue — Lime Blue — 
Chinese Blue — Chrome Green — Paris Green, or Emer- 
ald Green — Ultramarine Green — Lampblack — Natural 
Gas Black — Drop Black — Inert Pigments — Zinc White, 
or Zinc Oxide — Chremnitz, Chinese and Florence 
White — Lithopone — White Lead — Sublimed Lead, or 
Basic Lead Sulphate — Zinc Lead — Steatite— Whiting — 
Barytes. 

Driers Used in Linseed Oil Paints .... 193 

Two Classes, Oil Driers and Resin Driers — Influence 
of Pigment on Driers — Abuse of Driers — What Driers 
Are Made From — Proper Quantity to Use with Paint 
— Testing Japan Driers — Another Test for Driers — 
Lightning Driers — Manganese Driers — The Action of 
Driers on Paint — Some Drier Formulas — Patent Driers 
— Litharge Driers — Paste Driers — Japan Driers — Cheap 
Japan Driers. 

Liquids Used in Thinning Paints, etc. . . 204 

Turpentine Spirits — Wood Turpentine Spirits — Turpen- 
tine Substitutes — Benzine — Benzol — Carbon Tetrachlo- 
ride — Kerosene — Water — Rosin Spirit — Gloss Oil — 
Pine Oil — Amyl Acetate — Amyl Alcohol — Alcohol — 
Denatured Alcohol — Wood Alcohol, or Methyl Alco- 
hol — Acetone — Fusel Oil — Water Glass — How to Dis- 
tinguish Various Solvents — Some Little-Used Paint 
Oils — Cottonseed Oil — Corn Oil — Soya Bean Oil — 
Poppy Seed Oil — Hempseed Oil — Rosin Oil — Menhaden 
or Fish Oil— China Wood Oil. 

Linseed Oil 217 

Its Manufacture— Raw Oil— Boiled Oil— Kettle-Boiled 
Oil — Ordinary Boiled Oil — Heavy Raw Oil — Heavy 
Boiled Oil— Extra-Pale Boiled Oil— Varnish Oil— Re- 
fined Oil — Aged Oil — Adulteration of Linseed Oil and 
Linseed Oil Substitutes — China Wood Oil — Testing 
Linseed Oil. 



viii CONTENTS 

PAGE 

Paint Troubles — The Causes and Cure . . 231 

Mildew — Peeling of Paint — Paint Scaling from Iron or 
Steel — Blistering of Paint — Paint Spotting — Streaked 
and Spotted Painting — Paint Streaking, Spotting, etc. 
— Paint Creeping _ or Crawling — Running of Paint — 
Wrinkling of Paint — Pitting of Paint — Thinning of 
White Lead Paint — Frosted Paint — Trouble with Dark 
Shade of Blue Paint — Why Graining Cracks — Tacky 
Paint — Salt Affecting Paint — Brush Marks on Painted 
Surface — Chalking of White Lead Paint — Painting 
over Aniline Red — Yellowing of Inside White Paint — 
Livering of Mixed Paint. 

Concerning the Modern Paint Shop . . . 244 

How a Paint Shop Should Be Laid Out and the Busi- 
ness Office Located and Arranged — Complete Descrip- 
tion by a Successful Master Painter. 

Selecting Color Combinations 248 

Rules for Combining Colors — Different Types of 
Structures Call for Distinctive Color Schemes — The 
Colonial Style, Colors Suitable — Color Fads — List of 
Color Schemes for Houses — Harmonizing Colors, How 
to Arrange — Painting Store Fronts. 

Useful Information 257-289 

137 Items of Practical Use, Recipes, Formulas, Meth- 
ods, etc., etc. 



THE EXPERT HOUSE PAINTER 



PAINTING ON WOOD 

Interior Painting. — Interior painting includes 
plain work in oil, turpentine, turpentine and oil, and 
enamel paint. Oil paint is employed only when the 
color is dark enough to render it immune against dis- 
coloration from the darkening of the oil. Turpentine 
paint is used when a flat or lusterless job is desired. 
Sometimes a finish having some luster is desired, the 
effect being known as egg-shell gloss. This is pro- 
duced by mixing the paint with both turpentine and 
oil, in certain proportions. 

Dead Flat Work. — Usually flat work is done with 
white lead or zinc white, both ground in oil, thinned out 
with a mixture of equal parts of turpentine and raw 
linseed oil, for next to the last coat, the latter contain- 
ing either no more oil than is in the white lead, or with 
even that small amount extracted. Extracting this oil 
is done by mixing some white lead, ground in oil, with 
benzine, then when the mixture has had time to settle 
the benzine, carrying with it part of the oil of the lead, 
is drawn off, and the process repeated until all the oil 
has been drawn off ; then the lead may be thinned with 
turpentine to the right consistency for application, and 
driers added, as required; it is best to use very light 
japan driers or some other form of drier that will not 
discolor the white; this subject will be treated else- 
where. What has been said concerning drawing oil 
from lead applies also to zinc white. 

Interior Oil Color Work. — There is very little 

1 



2 THE EXPERT HOiUSE PAINTER 

difference in the preparing and using of interior and 
exterior oil paint, though interior work should have a 
paint that will dry with a harder surface than is re- 
quired for outside use. The addition of some turpen- 
tine will do this, only being careful not to add enough 
to injure the gloss of the finish. 

Egg-Shell Gloss Work. — Where a full gloss or 
dead flat finish is not desirable, on account of the glare 
of the one and the lifeless effect of the other, an egg- 
shell gloss answers well. It has the combined appear- 
ance of both the dead and gloss methods. Taking keg 
lead, which means white lead ground in oil and used 
as taken from the keg, and thinning it out with equal 
parts of oil and turpentine, this semi-gloss will result, 
and by the use of more or less of either liquid the re- 
sult will be either more or less of the two effects. But 
in general, equal parts of the liquids will give a satis- 
factory egg-shell gloss. 

Mixing the Paint. — In all cases when lead is 
taken from the keg for mixing it should first be 
worked some with the paddle to form it into a pasty 
mass, for this will greatly facilitate the final mixing. 
If an oil paint is desired, then the oil should be added 
gradually and be stirred with the lead with the paint 
paddle, until a mixture of the proper consistency has 
been obtained. To dump a quantity of oil into the 
pot of lead and mix it means poor mixing, a paint full 
of lumps. If coloring is to be added, add it before 
the mass becomes too thin; some colors, such, for in- 
stance, as lampblack, or any pigment having a light 
body, are difficult to mix with lead when it has been 
thinned down too much. It is also well to stir in the 
driers while the mass is rather thick, or before the final 
thinning. But if the paint is not to be used the day 
it is mixed do not add the driers until you are ready 
to apply the paint. 



PAINTING ON WOOD 3 

Paint in oil, particularly for outside use, gives better 
results as to wear when mixed a day or so before ap- 
plication, for it allows the mass to become more homo- 
geneous, the slight oxidation also benefiting it, both 
as to durability and appearance, for what may be called 
raw or fresh mixed paint will not give that smooth 
appearance on the finish that the older mixed paint 
will. 

Paint mixed with turpentine should be mixed only 
when about to be used, though if mixed and kept in 
a perfectly sealed can age will not affect it. Like oil 
paint, the thinners should be added a little at a time, 
and be well stirred in, the driers being added before 
the mass becomes too thin. And the same procedure 
is indicated for the egg-shell gloss paint. 

All paints of whatever composition should be well 
strained before using, or immediately after the mixing. 
This not only removes all specks, lumps, etc., but it re- 
moves any possible unmixed color and improves the 
mix very much ; such paint can be applied more rapidly 
than unstrained paint, and the finish will be smoother. 
There are brass wire gauze strainers for the purpose, 
fitting over the paint pot, and for large batches these 
are to be chosen ; but for, say, a potf ul mix a piece of 
cheesecloth, or small salt bag, makes a fine strainer, 
finer than wire gauze. Lay the cloth over the pot and 
fasten it around the sides of the pot, at the wire rim, 
with common string or light twine. Before pouring 
in the paint that is to be strained push the center of 
the cloth down a little with the sash tool that you 
will use to rub the paint through the cloth. Have a 
tin cup handy for putting the strainings in from time 
to time. When all the paint has been put through the 
strainer untie the string, hang it up for future use, and 
remove cloth from pot by taking hold of its edge until 
you have it in hand as a small pouch, when it should 



4 THE EXPERT HOUSE PAINTER 

be laid in water to keep it for another time. Brass 
sieves should be cleaned when done with, being first 
brushed out and then cleaned with a cloth dampened 
with kerosene or benzine; and, when all the mesh has 
been freed of paint, hung up. It pays to keep all shop 
appliances clean and in place. 

In mixing paint for inside use it had better be rather 
stout than thin, though this does not imply that it 
must be applied so as to leave a heavy coat ; this heavy 
paint should be rubbed out well. As the requirements 
of surfaces indicate, we must mix and apply the paint 
to meet conditions. This matter will be fully treated 
in describing the painting of various woods and sur- 
faces. 

First or Priming Coat Inside. — If the woodwork 
is white pine the priming should be made of white 
lead thinned with raw oil, adding a little japan driers. 
This coat must be quite thin, consisting of the oil 
whitened with the lead. It should be well rubbed into 
the wood and a smooth surface be secured. If there 
are any dark or sappy places or knots, these must be 
treated. Knots should be coated with thin white 
shellac varnish, which is also good for sappy places. 
For dark spotted wood, or wood not uniformly white, 
it will be best to add a little black to the priming, which 
will give a uniform coating, hiding the dark places. 
Use little driers in primer. 

The second coat should be composed of white lead 
and oil with the addition of a little turpentine and 
driers. This coat may be made somewhat heavier 
than the priming coat, but not to say heavy. It too 
should be well rubbed in and laid off uniform and 
even. Remember, that the smoother you get the 
work at the beginning and through the next coat the 
easier it will be the rest of the way. 

The third coat, where an oil finish is desired, will 



PAINTING ON WOOD 5 

be the last ; hence it should be made rather stout, with 
oil and maybe a drop of turpentine, with also driers, 
and be applied with a full brush, laying it off evenly 
and smoothly. 

If the finish is to be flat, four coats will be better 
than three, though this will, of course, depend upon 
the grade of work. In the very highest grade of in- 
terior white flat work as many as a dozen coats have 
been employed, or even more. But where there are 
only four coats let the third coat be a solid one, made 
up of equal parts of oil and turpentine; to secure a 
perfect flat effect the under coat must be rather in- 
clined to a luster, though not fully so. This matter 
will be treated fully under another head. 

Sandpapering, Puttying, Etc. — It is important to 
allow proper time for each coat of paint to become 
quite dry, before applying the next. The priming 
coat should be sandpapered with a medium coarse 
paper, say No. i, to secure a smooth surface, after 
which it should be dusted off. The same with the 
next coat. Putty work is done on the first coat, filling 
all nail holes and other depressions or defects requir- 
ing it, smoothing the putty over to a level with the 
general surface and so insuring a uniformly smooth 
surface for the next coat. The putty should be well 
pressed into the cavities with the ball of the thumb, 
passing the putty knife under the thumb and so effect- 
ing a neat fill. This method enables one to fill nail 
holes very rapidly, after some experience. For ordi- 
nary work the common oil and whiting putty does, but 
for some kinds of work this will not do; all of which 
will be related in detail further on. A white finish re- 
quires a white putty, and this can only be made from 
white lead, from the keg, mixed stiff with whiting. It 
is simply impossible to hide common putty with a coat 
of white paint, or even with two coats, in some cases. 



6 THE EXPERT HOUSE PAINTER 

When sandpapering, the resultant dust may be pre- 
vented from filling the air and lungs by wetting the 
sandpaper with turpentine, and a cloth or paper should 
be laid down where possible to catch the dust as it 
falls and where the paper or other abrasive material 
has not been moistened. The cloth or paper may then 
be shaken outdoors. 

In the application of interior paint the grade and 
condition of the brush is important ; it is unfortunately 
rather difficult now to buy high-grade brushes, owing 
to the difficulty of securing the best bristles abroad; 
those from the Chicago stock yards are somewhat in- 
ferior to the best Russian bristles, but buy the best 
possible, and it will be economy in the long run. For 
priming work a new brush does not do, one that has 
been worn down a little answering better. Nor does 
a new brush produce as smooth a job as one that has 
been worn into a good shape, chiseled, and square of 
point. It is a good idea to use the new brush on some 
common work first, to get it worn down properly. 
The shape and size of the brush is important too; for 
interior work a full round or oval brush is best, the 
wide or wall brush being better adapted for wall or 
common painting. As to the size of the brush, while 
some prefer an 8-0, many use the next larger size, the 
1 0-0. Either will do good work, and the size of the 
surface should determine which brush will do the 
work best. The smaller brush will be more effective 
on small areas or surfaces than the larger one. This 
is a rule with vehicle painters. With a set of brushes 
for the house painter we include the 8-0 or 10-0 
round or oval brush, the No. 8 or No. 10 sash tool, 
and a small one called the fitch, which is a bristle 
brush, a very small one that is useful in getting into 
very small places. There is also the duster and putty 
knife to finish out the painter's kit. 



PAINTING ON WOOD 7 

Number of Coats Necessary. — Usually three- 
coat work is the rule, but this is only for the average 
and ordinary grade of painting. While very good 
work may be done with three coats, this will de- 
pend upon the character and amount of paint applied, 
together with the manner of application. Specifica- 
tions fix the number of coats to be given, the character 
of the paint, and manner of its application; it must be 
done in a "workmanlike manner." Something also 
depends upon the kind of wood that is to be painted. 
If white pine is to be done then the three coats will 
prove enough. But on such a wood as cedar or 
cypress and some other woods much used in building 
construction now, three coats will, in some cases at 
least, prove too few to hide the wood and give a uni- 
formly good finish. And it is certain that less than 
two coats, even of the best paint, applied correctly, will 
not give a good finish. 

Manner of Application. — In applying paint to 
woodwork there is a wrong and a right way. It re- 
quires some practice to enable one to apply paint 
properly. The beginner or amateur dabs it on and 
rubs it out in short jerky movements of his brush. 
The result is seen in a rough and very uneven sur- 
face. The expert takes his full brush and applies two 
or three preliminary strokes, to distribute the paint 
over the area he is about to cover, then proceeds to 
rub it out evenly by longer movements of his paint 
brush. After covering the surface, having run his 
brush in up and down motions, he then crosses the 
work, brushing it at right angles with the first brush- 
ing. In this manner he secures an even spread of 
the paint and gets a smooth and uniform surface and 
finish. 

Taking a Brush Full of Paint from the Pot. 
— In the first place let it be said that the paint pot 



8 THE EXPERT HOUSE PAINTER 

must be clean at the start, if clean work is expected. 
Usually the paint pot is placed at the feet of the 
painter, unless he is either working on a scaffold or 
from a step ladder. It would seem that if the pot 
were to be placed nearer to hand it would save stoop- 
ing and time too. But usually the pot stands on the 
floor, and each dip of the brush means a bend double 
of the workman, and more or less danger that some 
of the paint will fall from the brush on its way. 
When an amateur dips in his brush it is simply to 
secure a portion of the mixture on the tip of his 
brush, and this he lifts by tilting the brush at right 
angles and bringing it up to the work. In this way 
he is bound to drop paint on the floor. The expert 
does it differently; he dips in his brush with more con- 
fidence, gets more on the brush, and before lifting it 
out gives it a few flaps against the insides of the pot; 
this equalizes the paint on the brush, and removes 
surplus; then he carefully raises the brush, handle 
down, to the work. 

Formula for Flat Finish Work. — This was 
briefly described in the beginning of this section, but 
details are herewith given : The priming coat is made 
from white lead thinned with two-thirds raw oil and 
one-third turpentine, adding a little good japan drier. 
When dry, sandpaper with No. I paper or equivalent 
abrasive material, and stop all nail holes, etc., using 
white lead putty. Second coat with white lead thinned 
with equal parts of oil and turpentine. When dry, 
sandpaper as before and dust off. The sandpaper 
used on this coat is No. 2. The third coat is composed 
of white lead thinned with turpentine, and adding a 
little white japan driers. As before, the work is sand- 
papered and dusted off. The fourth coat consists of 
French process zinc white, thinned with turpentine; 
it should be stated here that the zinc is that which 



PAINTING ON WOOD 9 

comes ground in oil. Add a little white japan driers. 
Again sandpaper and dust off. The fifth and last 
coat is made from French process zinc white ground 
in white or pale damar varnish, thinned with turpen- 
tine, and with a little white japan driers. The whitest 
gum damar varnish is that made from the Batavia 
gum, the other sort being rather yellowish. 

The formula given is that in use by some of our 
most expert painters, and it certainly requires an ex- 
pert, even a genius, to do a fine piece of such work 
as dead flat finish. As flat paint sets and dries quickly 
the workman has to be lively in order to avoid laps 
or brush marks. 

Drawn Flatting. — This method of drawing the 
oil from white lead that has been ground in oil has 
been described. It is a very simple and good way, but 
is not the only method employed in order to secure a 
perfect flat finish. The modern way is to grind the 
dry white lead in a mixture of oil, turpentine, and 
japan, adding just enough flatting varnish to cause 
the paint to flow out and level up nicely. This method 
can be used for the production of all colors, as well 
as for white flat. 



ENAMEL PAINTING 

An expert master painter says he never bids on a 
first-class job of enamel painting that calls for less 
than eleven coats. But most painters will not be called 
upon to do such very fine work as this. Here is a 
formula for doing an 8-coat job. Make the founda- 
tion smooth and perfect. Prime with white lead con- 
taining a little yellow ocher; reduce to working con- 
sistency with 1/3 raw oil and 2/3 turpentine; add a 
little japan driers. When dry enough sandpaper 
smooth and dust off. Second-coat with rough-stuff 
to level up. When dry, sandpaper and rub down to 
a smooth, even surface. Third-coat with white lead 
thinned with 3 parts turpentine and 1 part boiled oil. 
Fourth coat, white lead thinned with 5/6 turpentine 
and 1/6 white varnish. Fifth coat, equal parts of 
white lead and Green Seal French zinc white, thinned 
with % turpentine and Y^ white enamel varnish. 
Seventh coat, all Green Seal French zinc white mixed 
with 24 white enamel varnish and *4 turpentine. 
Eighth coat, white enamel varnish colored with the 
zinc white and enough turpentine to make the varnish 
flow smoothly. Sandpaper each coat but the last, 
using very fine sandpaper or hair cloth. The first four 
coats should stand not less than three days each, and 
the last four coats not less than six days each. 
Finish by rubbing with fine pumicestone powder and 
water to a dull finish. If a high polish is desired fol- 
low this by rubbing with powdered rottenstone and 
sweet oil. If the wood is of a sappy nature follow the 
priming coat with a very thin coat of white shellac 
varnish. 

10 



ENAMEL PAINTING 11 

The last coat is sometimes finishing varnish, left in 
the gloss, or polished to a velvet or satin finish, as 
desired. Some painters shellac the bare wood, and 
prime over it. 

Another expert painter sends us the following as 
his method : Prime with white lead thinned with one 
part turpentine and three parts raw oil ; the following 
three coats are made from drawn zinc white, drawing 
the oil until practically all has been extracted. Mix 
this with damar varnish. If the finish is to be some 
tint or color, make the first zinc coating several 
shades darker than the finish is to be, then making 
each successive coat a trifle lighter in shade than the 
first. The fifth coat is made a color-and-varnish mix- 
ture; that is, enough of the colored paint is added to 
the varnish to discolor it. But if the finish is to be 
white, then use zinc white thinned with the best white 
copal varnish, the kind that is specially made for the 
purpose. If tinted work is required, then tint the 
zinc-white before adding the varnish. The sixth 
coat is this varnish-color paint, and when dry it is 
ready for rubbing with powdered pumicestone and 
water, followed with rubbing with powdered rotten- 
stone and water. This will produce an egg-shell gloss. 
Further rubbing, with rottenstone and sweet oil, 
will impart a polish. This method gives a very pleas- 
ing and durable enamel finish. 

Enamel Finish on Cypress. — Owing to the 
gummy nature of this wood the surface must be glue 
sized, applied hot. The priming coat over this is 
made from white lead thinned with a mixture of raw 
oil three parts and turpentine one part. Add also a 
little japan drier. Often this wood is quite dark, in 
which case add a little lampblack to the primer. After 
the priming coat proceed as directed for enamel work 
in general. When a dead finish is desired it is usual 



12 THE EXPERT HOUSE PAINTER 

to apply the glue size to the bare wood, but when to 
be a gloss finish the glue size is applied over the prim- 
ing coat. In the latter case the size should be made 
from white glue, to which add a little dry zinc white; 
make it rather heavy, and apply hot; when dry, 
smooth up with fine sandpaper. Subsequent coats 
may be as for white pine. 

Notes on Enamels and Enamel Painting 

A distinction must be made between the true enamels 
and what are known as varnish colors. Usually, true 
enamels are made by grinding a pigment in an enamel 
varnish, reducing this to a consistency fit for the brush 
with more varnish, and maybe with a small amount of 
turpentine. Any brand of pure zinc oxide may be 
used, if its color is right, but for the best white finish 
the Green Seal French zinc white is preferred. 

Tinted enamels are made by adding some color to 
the white zinc, these colors being ground in equal parts 
of bleached linseed oil and white grinding japan. 

The varnishes most suitable for enamels are damar 
and pale or so-called white copal; the former for 
special white enamels, the latter for hard, tough 
enamels. Batavia gum damar gives the palest of the 
damars; some cheap grades of enamel varnish are 
adulterated with "Water White" rosin. Zinc sulphate 
or zinc resinate is sometimes added to harden the 
damar, and as this usually produces a cloudiness in the 
varnish a trifle of grain alcohol is added to remove it. 

White enamel paint containing any linseed oil or 
colored resin will in time turn yellow in the absence 
of plenty of sunlight. Enamels intended for re- 
frigerators, closets, and all closed places must be made 
from the palest and best Batavia gum damar. 

In the preparation of damar varnish the gum is 
first made hard by a certain treatment, then it is dis- 



ENAMEL PAINTING 13 

solved in pure turpentine spirits, in the ratio of from 
6 to 10 lbs. of gum to the gallon of turpentine. The 
turpentine employed is the best, that distilled from 
the pure gum from the tree. Wood or stump tur- 
pentine will not do, as it would cause the enamel to 
turn yellow in the dark. But cheap white and tinted 
enamels contain wood turpentine, the strong odor of 
which must be masked with an essential oil, such as 
mirbane, etc. Acetone, benzol and benzine are oc- 
casionally used in enamels, either as a thinner or as 
a solvent, but, unlike wood turpentine and rosin spirit, 
these impart no color. 

The factory prepared enamel paint will usually have 
to be thinned out in order to cause it to flow out and 
level up well. Turpentine is the best thinner for this 
purpose, as regards its power to cause good flowing, 
but its equally good flatting quality renders its use for 
this purpose undesirable, unless it be mixed with an 
equal quantity of benzine. Benzine has no flatting 
quality, but it is very difficult to dissolve either damar 
or copal gum in this fluid, hence its addition to the 
enamel must be very sparing. And when thinning any 
varnish containing little oil, such as enamel paint, or 
varnish, damar or copal varnish, with benzine, add it 
very slowly and stir continually until perfect mixture 
takes place. 

Refrigerator enamel is made from hardened damar, 
contains no oil or colored rosin, makes the most 
lustrous of all enamels, and will not turn yellow in 
the dark, is extremely hard, not very elastic, needs a 
non-absorbent primer for the foundation coat, and so 
becomes the most desirable enamel for the interiors 
of refrigerators, closets, cabinets, deposit boxes, etc. 
Better results are obtained by baking four to six hours 
at 1 80 degrees Fahr., this giving an extremely hard 
and tough enamel coating. 



14 THE EXPERT HOUSE PAINTER 

Polishing enamel differs from refrigerator enamel 
in containing white copal and some refined linseed oil ; 
this enamel is usually quick-drying, and must harden 
in from 24 to 48 hours, so as to allow of sandpaper- 
ing or rubbing down with pumice powder. Art extra 
fine job may be obtained by giving the work a coat 
of some non-absorbent primer, two coats of polishing 
enamel, sandpapering or rubbing with pumicestone 
powder, and finishing with a coat of enamel paint. 
For exterior work finish with marine enamel. 

Marine enamel, as its name will indicate, is made to 
withstand water, hence is designed for bath tubs, sinks, 
water pails, and any place or thing that has more or 
less of moisture to meet. Neither hot nor cold water 
affects it; if baked, this enamel will withstand sub- 
mersion in salt or fresh waters for months without 
becoming soft or otherwise affected. Such enamel 
has to be made from the best of high-grade varnish, 
and must not contain any resin (though some brands 
do, just a little). 

Exterior enamel is designed for all work exposed 
to the weather. It is made from a slow drying, pale 
finishing varnish, and will not do inside, its main pur- 
pose being for store fronts, camp furniture, etc. 

Satin-finish enamel dries to a satin-like surface, re- 
sembling polished ivory; in time it becomes as hard 
as ivory, and may be employed on either interior or 
exterior work. 

Low priced enamels are made from cheap materials, 
such as rosin oil or rosin varnish; they work well 
under the brush, level out right, are lustrous, but not 
durable. Somewhat better low priced enamels are 
made by adding just enough hard gum with the 
product to prevent it from easily powdering on the 
surface, as the cheap enamels usually do. 

The thinners supplied by manufacturers of enamels 



ENAMEL PAINTING 15 

consist of turpentine, benzine, toluol and benzol, with 
just enough damar or white copal varnish to prevent 
flatting. The thinners for a flexible enamel differ by 
containing a linoleate instead of varnish. The flatting 
of an enamel is caused either by a poor foundation or 
by excess of thinners. 

Enamel Painting Footnotes 

Some workmen rub enamel paint to a polish with 
crude oil and the abrasive substance, but this oil is 
very apt to soften the varnish and soil the work, re- 
quiring removal of the surface and re-doing. 

To get a good job over old paint it is safest to re- 
move the latter to the wood. Of course, where the 
under coating of paint is good and presents a solid 
surface the removing need go no farther. 

Freshly made enamel paint usually works thin under 
the brush, shows brush marks, and does not flow out 
well. Hence it is best to allow the paint to have a 
few days' age before using. But do not let it get too 
old, for in that case it is apt to be ropy. In this 
case try immersing the can of paint in warm water 
before using. If it has to be thinned, then thin it 
with the mixing varnish that the maker provides for 
the purpose. 

The less oil in the coats of paint under the enamel 
paint the less the danger of yellowing the finish. 

Owing to the varnish in it, enamel paint usually 
works rather hard under the brush. Quick drying 
enamel paint works hard and does not wear well; it 
is impossible to produce a quick drying enamel that 
will prove durable. 

A quick drying enamel paint should have pigments 
ground in turpentine and thinned with gold size ; such 
may safely be used after the priming coat on new 
wood, or for all coats on metal. But for old painted 



16 THE EXPERT HOUSE PAINTER 

work such an enamel paint is apt to crack ; in this case 
an egg-shell enamel will be best. 

An enamel paint that is to stand weather exposure 
must be a quick drier, give a hard surface, yet be 
elastic enough to contract and expand with the weather 
without cracking. The enameled surface must be 
quite smooth and glossy. Exterior enamel paints dry 
somewhat slower than interior enamels, since a more 
oily varnish is used in order to make it more elastic, 
and here is where the trouble comes in making the 
right enamel ; it must be elastic yet not too oily, for in 
the latter case it would remain soft. The other ex- 
treme will cause the enamel to crack and to leave the 
surface it is applied to. 

The addition of a tablespoon ful of coal oil to the 
gallon of enamel paint is said to make it work easier 
under the brush, without injuring its luster. 

Or thin out with benzine, which will allow of easy 
spreading and not injure the gloss, as the benzine evap- 
orates and leaves a thin coating of the original enamel. 
This method avoids laps in the paint, too. 

Camphorated turpentine, made by dissolving two 
ounces of gum camphor in one gallon of turpentine, is 
an improver, as given in the following formula : 

Formula for White Enamel 

Florence zinc white 5 lbs. 

White damar varnish 1 gal. 

Thin with 

White enamel varnish 1 gal. 

Camphorated turpentine 1 pint. 

Where an elastic, slow drying, durable primer is 
used plenty of time must be given for it to dry before 
applying the next coat. As a rule each coat, from the 
priming up, should be a little harder than the suc- 
ceeding coat, in order to effect the contraction due to 



ENAMEL PAINTING 17 

drying, and it is essential that the coat of paint next 
to the enamel be of a non-absorbent nature, otherwise 
the final coat of enamel will not have the necessary 
"fullness" and luster. 

Non-absorbent primers and second-coat paints are 
made by combining a little varnish and a very small 
quantity of driers with the oil; oil alone requires 
months of drying before it becomes non-absorbent. 



PAINTING HARD-FINISHED WALLS 

By hard-finished is meant walls of rooms coated 
with lime and sand plaster. Such walls are rarely 
hard, strictly speaking, and in workmanship range 
from poor to bad. In olden times room walls were 
really hard, and in some cases difficult of penetration 
by a nail driven by a hammer. What were called 
wash-walls were especially hard, more like marble, 
the result of having been rubbed down with water and 
trowel for quite a while. These were called wash- 
walls because the housewife washed them clean now 
and then, maybe once a year, neither paint nor paper 
being permitted to desecrate the excellent surface. 
To-day we have soft walls, many composed of little 
plaster of Paris and plenty of lime putty, and this in 
thin coats. Such walls are not fit to paint or paper 
on. But we have them and are asked to paint them, 
sometimes with water color, other times with oil paint. 

The suction of these plaster walls is very great, and 
how to stop it is a subject full of difficulties. Master 
painters do not agree upon any one method of sizing 
the walls. Some argue for one thing, others for an- 
other thing. Weak glue size has for years been a 
common size. But many object to it on account of its 
not being proof against moisture, an element very com- 
mon where lime is. Varnish thinned with benzine is 
a favorite size. The first thing to do, however, is to 
kill the lime. An acid will do this, vinegar, for ex- 
ample. A chemist advises an acid size made by adding 
a gill of muriatic (hydrochloric) acid to a pail of 
water. This acid unites with the free lime and forms 

.18 



PAINTING HARD-FINISHED WALLS 19 

hydrochloric acid gas; this evaporates, leaving on the 
surface of the plaster sodium hydrogen sulphate, which 
is then easily removed with clear water. 

Another way to size the walls is to first apply a 
hot, thin glue size, and when dry apply a thin coat 
of lead paint. This prevents any possible dampness 
getting under the paint, for the glue and first coat 
unite in filling the pores of the plaster and form a 
hard surface. I have never known dampness to hurt 
a job done this way. Still another method, favored 
by many, is to first apply a thin lead coat, and on this 
apply the glue size. Many ask, why the glue size at 
all? Because it fills better than a lead primer will. 
It is cheaper and more rapidly applied. It dries 
quickly and leaves the walls ready for paint in a few 
hours, while lead paint could not be made to dry in 
less than 24 hours, fit to work on. 

Should the wall have some porosity, in order to 
hold the paint well, is another disputed question. A 
noted British decorator contends that the wall should 
have absolutely no porosity, while an equally expert 
American painter takes the opposite view. Doctors 
will disagree. It must be remembered that plaster 
walls are not things like enameled marble, they have 
a surface more like wood, and hence are in no more 
need of porosity than wood in order to hold paint. 

It is useful to listen to the experts when they give 
their views upon these matters. One tells us that if 
he were allowed to have his own way and make a per- 
fect job of wall painting he would first have the walls 
well glue sized, then glued, and on this he would put 
muslin or light canvas, allowing time for all dampness 
to dry out. He would apply a coat of thin white lead 
and oil paint, with some driers. This would be fol- 
lowed by a coat of lead and oil, with about one-third 
turpentine too. Then another coat like it. Then the 



20 THE EXPERT HOUSE PAINTER 

fourth and final coat, white lead thinned with turpen- 
tine only, with a proper amount of driers. This latter 
coat should be stippled in order to secure an even, uni- 
form surface. Stippling of the third coat would be 
well, as it would do away with all brush marks and 
help in the finish coat. If a pure white job is desired 
use zinc white in place of white lead for the last coat. 

The covering with muslin is always advised where 
the wall is broken or where a first-class job of plaster- 
ing has not been attempted. It prevents any cracks, 
large or small, appearing under it. 

"Examine the plaster, clean it off and repair any 
breaks. Apply a thin coat of paint, oil paint thinned 
with plenty of turpentine; let it stand two days, then 
any fire cracks will show up. Apply a coat of glue 
size and let the job stand until the next day; apply 
then a coat of paint made from white lead, thinned 
with oil and turpentine, with driers. Stipple lightly, 
and let it stand 24 hours ; then apply another coat, any 
kind of finish desired, such as semi-gloss, egg-shell 
gloss, or flat finish. 

"On some walls a priming composed of equal parts 
of red lead and white lead, thinned with boiled oil 
and made quite thin, does best, as it enters the pores 
of the plaster and makes a firm foundation for the 
finish. 

"For the better class of wall painting we have found 
that a size made up of equal parts of benzine, furni- 
ture varnish and dry pigment, lead or whiting, all by 
measure, gives satisfactory results. It makes a solid 
foundation, saving paint. 

"It is a practice in many parts of the country to 
glue size a raw plaster wall before painting, but noth- 
ing could be worse. The glue will prevent the oil 
from sinking into the wall and anchoring there. 
Feed the plaster with oil until it will absorb no more. 



PAINTING HARD-FINISHED WALLS 21 

"Varnish, hard oil, liquid filler, etc., have been fa- 
vored where plastered walls are to be painted. These 
stop suction, dry quick, then a coat or two of paint; 
yet they cannot be recommended on good work for 
the reason that they dry too fast, do not contain enough 
oil to penetrate the plaster; in some cases they cause 
peeling and cracking. Such sizes dry very quickly on 
hot days, the liquids evaporating and leaving a brittle 
coating. 

"Water glass is perfectly safe to use on new plas- 
tered walls as a size, because it forms with the caustic 
lime an insoluble silicate of lime, which is inactive 
because insoluble. Water glass, the silicate of soda of 
commerce, should be diluted one-half with water; ap- 
ply with a fiber brush. If the plaster is rather hard 
and smooth, a still weaker solution will do. This size 
answers equally well under water and oil paints. 

"Whether there is a chemical action or reaction, 
strictly speaking, when soap, glue and alum are mixed 
together, we are not prepared to say ; but it is a fact 
that a mixture of soap and glue alone will not harden 
sufficiently to be painted over. The addition of alum 
hardens the soap to a certain extent, and renders the 
glue insoluble on exposure to the air. When glue size 
without soap is used, the addition of alum keeps it 
from souring or molding; and when a size of soap 
without glue is used under water paint, it is liable to 
rub up unless alum has been added to the soap solu- 
tion. With oil paint this would be different." 

A good vinegar size may be made from one-half 
pint of strong vinegar to the pail of water. It neu- 
tralizes the free lime. Let it become perfectly dry 
before applying paint. 



WALL PAINTING NOTES 

Cleaning Walls. — Painted walls in good condi- 
tion, with the exception that they are dirty, may be 
made clean in the following manner. It is well to 
have two men on the job, to avoid spotting or streak- 
ing. A stretch of three or four feet is as much as 
should be done at a time. First dampen the wall with 
a sponge saturated with water; follow this with soap 
suds made from white soap and water; apply with a 
calcimine brush, scrubbing the surface a little with the 
brush. This will soften up the dirt. Next make up 
a compound consisting of I lb. of white soap, shaved, 
placed in hot water, ^4 gal. ; then stir in 2 lbs. of whit- 
ing; allow this to cool. Dip a brush into this mass 
and scrub the wall gently, just enough to soften the 
dirt; sponge off at once, with clean soft water and 
wipe down with a chamois that has just been wrung 
out of water. Take care that not too much water is 
used on the work; sponge and chamois should be 
wrung out as often as possible, the water being fre- 
quently changed. Start the work at the bottom and 
continue up to the ceiling. Clean the ceiling in the 
same manner. 

To clean off a dirty wall before painting apply a 
coat of uncooked-starch water; when it is dry brush 
off, and the dirt will come with it. 

To clean a greasy wall before painting scrub with 
strong vinegar. A thin coat of fresh lime water or 
thin whitewash is good on a smoked wall. 

Wall Defects Treated. — Where the plaster is put 
on an interior brick wall and the latter is more or less 

22 



WALL PAINTING NOTES 23 

damp, the alkali of the lime will come through and 
cause spotting, these spots in turn coming through 
size and paint. The only thing then to do is to scrape 
down to the plaster and perhaps down to the brick- 
work, and remove the bad spots. Then fill in with 
plaster of Paris, pressing the plaster well into the hole. 
Then size and apply a hard lead putty, glazing the 
place at first, after having sandpapered smooth. When 
the putty has become hard, sandpaper it. Then give 
it a priming coat of white lead thinned with 3 parts 
raw oil and 1 part turpentine, with a little drier. When 
this is dry apply a coat of glue size, after which give 
the finishing coats of paint, whether oil or flat. Some 
claim that saltpeter spots on walls can be removed 
with kerosene oil, allowing it some time to dry, then 
apply a coat of flat paint. Then size with glue size, 
quite thin, following with another coat of flat paint. 

Where the walls and ceiling show fine or small 
cracks, and where also are uneven places, and it is 
desired to make a first-class job, try this method: 
Mix dry white lead and coach japan to a stiff paste, 
and with this go over the cracks and uneven parts, 
using a broad glazing knife; make the surface smooth 
and level. When dry, sandpaper it smooth. This 
plaster will not absorb the paint any more than the 
rest of the surface will. 

Spots on walls plastered directly on the bricks are 
sometimes due to dirty bricks ; they may be old bricks 
taken from a chimney, or bricks that were directly 
exposed to the fire of the kiln. The only cure is cut- 
ting out the bricks indicated by the brown spots on 
the wall, and putting in clean bricks. A workman 
says that he has known a spot to come from a sooty 
brick clear through a four-inch marble slab, discolor- 
ing the marble. 

Painting over Calcimine. — If the calcimine coat 



24 THE EXPERT HOUSE PAINTER 

is in good condition, no trouble will follow its paint- 
ing with flat or oil paint. But add plenty of turpen- 
tine to the first coat of paint to carry the paint into 
the calcimine and hold it. The calcimine will not need 
sizing before painting, unless it is in bad condition, 
in which case use a size made from varnish thinned 
out with benzine or turpentine. Or use a liquid made 
from equal parts of raw oil, turpentine and japan 
driers. Gloss oil is also used. 

To Prevent Laps in Flat Oil Painting. — Where 
a sufficient number of hands are employed for the 
job, dead flat painting is easily done without danger 
of laps. But where this is not possible an expert ad- 
vises the addition of a little varnish in the last coat, 
one man applying the paint and another man follow- 
ing with the stippler. In this way laps are impossible. 

Finishing Plaster Wall in Flat Oil Paint. — 
The Master Painters' Association adopted the follow- 
ing method for painting a hard-finish wall in flat oil 
paint. Fill cracks, then sandpaper smooth. Prime 
with paint made from white lead, 5 lbs. to the gallon 
of thinners. Let dry and apply a coat of hot glue 
size, well rubbed in. Mix and apply a paint made 
from white lead, medium consistency, thinned with 
equal parts of oil and turpentine. Tint this coat to 
agree with that of the finishing coat. Next coat, 
white lead, tinted, and thinned with 34 oil and 24 
turpentine, tinting a little darker than the finish is to 
be. Stipple this coat. Now apply the last coat, y$ 
zinc white and 34 white lead ; stipple. Lithopone may 
be used for the last coat, instead of lead and zinc 
white. While no mention was made of driers, it is 
presumed that it was used throughout, in the usual 
manner. 

Where an extra finish is sought it is better to apply 
a coating of whiting calcimine, rather stout, and when 



WALL PAINTING NOTES 25 

dry sandpaper smooth. This is to fill all cracks and 
irregularities and make a good ground for the finish. 

Dead Flat Effect. — A wall that is not uniform 
and first-class for painting may be done in oil color, 
when it will show many fine cracks. Paint the wall 
in oil color, as usual, and when dry apply a coat of 
cooked starch, which stipple. This will cause the en- 
tire surface to have a solid, uniform, dead-flat appear- 
ance. Whenever a painted wall is to be preserved 
from smoke, etc., it is well to treat with the starch as 
explained. Then when the starch looks dirty it may 
be washed off and another coat applied. 

Another way to treat the wall mentioned as being 
defective is to add a little beeswax in the last coat of 
paint, melting it in some of the oil used in thinning 
the paint. This will give the finish a semi-dead flat 
effect. Buttermilk, freed from all particles of butter, 
may be used in place of starch ; or skim milk or sweet 
milk will do. 

These treatments are also effective for a wall that 
shows glossy in spots. 

Painting Sandfinished Walls. — The condition 
of a sandfinished wall is bad at the best for receiving 
paint, but some are very bad. The first thing to do is 
to examine the surface for cracks and other defects. 
Open up cracks and wet them with water, then fill 
with plaster of Paris and clean sand, mixed to form 
a plaster. Trowel this down smooth, using plenty of 
water and a cork trowel, or one made of wood and 
called a "float." The troweling brings the sand to the 
surface and gives to the repaired part the appearance 
of regular sandfinish. If the wall is very rough, first 
go over it with coarse sandpaper or brick, to remove 
the roughest parts. After brushing down the wall and 
repairing all defects, size the wall with a mixture of 
rosin or gloss oil thinned with benzine or turpentine, 



26 THE EXPERT HOUSE PAINTER 

with a little plaster of Paris, which will stop suction 
and fill the pores. If the wall is uneven, rough and 
full of hollows, apply a coat of strong sized calcimine, 
and when this is dry give it a coat of white lead paint 
thinned with oil and turpentine. 

There is objection to the use of glue size on this 
kind of wall, though many do use the glue. It does 
not give as stable a foundation for the paint coats as 
lead and oil, of course. But where the price for the 
work is small it does not pay the painter to size with 
white lead and oil, but he can use calcimine, made up 
of whiting and plenty of glue. 

After the wall has been properly sized and filled, 
proceed to finish it with paint as you would on a hard 
finish wall. The finish may be plain or fancy, white 
finish, tint or color. The last coat may be dead-flat, 
gloss, or egg-shell finish. If deep rich colors are de- 
sired you can glaze on a proper ground color and have 
a blended effect, mottled effect, clouded or scumbled, 
leather, or fabric effect. 



FLAT WALL PAINT 

There has been a diversity of opinion regarding the 
proper treatment of walls Before applying flat wall 
paint, yet it is generally conceded that the first coating 
should consist mainly of linseed oil. Most flat wall 
paint makers put out a thinning vehicle that is mainly 
linseed oil. The foregoing relates to new walls, or 
walls that have never been painted. In the case of 
walls that have been painted there is even more want of 
unanimity of opinion. This arises from the fact that 
white lead, as the old paint on the wall is composed of, 
does not agree with lithopone, the main ingredient in 
flat wall paint. But the danger has been much exagger- 
ated, and there is no danger from applying lithopone 
paint over a lead painted surface, if the latter is dry, 
and vice versa, so far as any reaction between the two 
pigments is concerned. Some painters have even made 
exterior paint in which the main pigments were sub- 
limed lead and lithopone, and claim good results. 
Where the flat lithopone paint has not done well over 
old flat lead paint we must find some other cause. 
Possibly the trouble has been due to a poor physical 
condition of the old dry white lead coating. It is 
impossible to get much linseed oil in flat lead paint, 
as excess of oil would mar the flat effect. Such flat 
coat is deficient in binder when applied, and it grows 
more brittle with age, from the saponification of the 
oil by the lead, and possibly through reaction with the 
lime of the plaster. The same coating applied out of 
doors would rapidly check off, and would practically 
have disappeared by the time the surface came up for 
repainting, but with indoor exposure only it remains 
on the wall, though none the less perished and dead. 

27 



28 THE EXPERT HOUSE PAINTER 

Such a surface is unfit as it stands for supporting 
a finishing coat properly, whatever may be the pig- 
ment in it. It greedily absorbs the vehicle from the 
new coat, but not equally so over the whole surface, 
leaving the latter of uneven luster and more or less 
deficient in binder. The new coat may check, or in 
some cases may pull the old dead coat off. Two coats 
of flat finish will be needed in all such cases to get a 
uniform looking job, and if the first of them is lib- 
erally thinned with linseed oil so as to add some life 
to the undercoat, the job will be the better for it. 

It is manifestly impossible for the manufacturer to 
cover in his directions all the cases that arise in prac- 
tice, and specify the treatment for each. More de- 
pends upon the man who applies the paint than upon 
the paint itself. It is with a finishing coat of paint 
as with varnish — it is the last thing which goes on the 
job — and if the results are unsatisfactory the unthink- 
ing man is apt to blame the finishing coat, whatever 
it may be. The careful painter looks well to his foun- 
dation, and this should be the watchword when using 
modern flat wall finishes. 

In securing a satisfactory job with flat wall finishes 
built up with lithopone, much depends upon the prep- 
aration of the wall or surface. Unfortunately, the 
plaster on walls, especially the sand-finished kind, is 
not uniform — the hard spots holding up the wall fin- 
ishes and the porous parts soaking it in. Glue size, 
while permissible under calcimine, is undesirable as a 
means of holding up flat wall finish. Either the var- 
nish content of the wall finish, drying hard, causes the 
glue to curl and peel, or the water, after continued 
washings, goes through the porous paint coating, soft- 
ening the glue with disastrous results. Gloss oil should 
not be used, as it does not resist moisture. A good, 
free-working varnish size, consisting of a gallon of var- 



FLAT WALL PAINT 29 

nish to which a quart of flat wall paint has been added, 
will be found thoroughly satisfactory. 

Flat wall finishes are all made on the same funda- 
mental formula; the essential pigments are lithopone 
and zinc oxide with or without inert pigment and with 
the addition of the ordinary colored pigments in the 
tints and shades. 

As undercoating for enamel they will be found use- 
ful, owing to the ease with which they may be sanded. 
On steel ceilings they will be found to be just as sat- 
isfactory as on plaster or fiber board. They produce 
a very pleasing effect when applied over burlap, the 
latter being first treated with a coat of a good liquid 
filler. They may be liberally thinned with turps or 
benzine and applied to window shades to restore the 
original color or to change the shade to conform to a 
new color scheme in the room. For finishing radia- 
tors they are excellent, as even the white and light 
tints show little tendency to change at the temperature 
of hot water and low pressure steam. 

It should be understood that while lithopone can be 
used very extensively in interior painting, it cannot be 
used in the same way as carbonate of lead or oxide of 
zinc, but must be used with more or less discretion and 
knowledge of its nature, otherwise the painter is apt 
to get into difficulty. For instance, green or chrome 
yellow, which the painter uses generally, is made from 
a lead base which will work with oxide of zinc or car- 
bonate of lead without detriment, but cannot be used 
with the proper degree of safety in lithopone. In all 
cases where a green or yellow is to be used it ought 
to be a chromium oxide or a mixture of zinc yellow 
and cobalt blue. These particular colors are, of course, 
lime proof and are superior for interior work or ce- 
ment work, and should always be used in connection 
with lithopone. 



30 THE EXPERT HOUSE PAINTER 

Merits of Lithopone Wall Paint. — Lithopone 
is more opaque, it obliterates better than white lead, 
therefore, for covering up old discolored white or 
pale tints, it is more effective, and two coats may serve 
where three of lead might have to be used. 

It is whiter than white lead, and retains its whiteness 
when properly mixed with the correct drier and oil for 
far longer periods than white lead, and when delicate 
tints are required it gives purer tones than lead, and 
these in turn retain their pure tones longer than if 
made with white lead. 

It works as freely as lead, and follows the brush 
more like lead than oxide of zinc does. 

It is lower in initial cost per hundred weight or per 
gallon than lead, and when the strong points I have 
enumerated are taken into consideration it must be 
admitted that it is a desirable article for painting pur- 
poses. 

The pigment is not brittle, and if any flaking or in- 
elasticity manifests itself, the fault is said to be in the 
binder. It is more elastic than zinc oxide and is not 
discolored by sulphurous gases, as is white lead. 

The tendency of lithopone paints to flat is particu- 
larly valuable to the master painter for flat work. Be- 
cause lithopone requires to be carefully ground in the 
proper percentages of certain reen forcing pigments, its 
use in the dry form by the master painter cannot be 
recommended. 

Thorough grinding of the ingredients is necessary 
for the best results, and therefore lithopone products 
have thus far only been offered to the master painter 
either in paste form, similar to lead in oil, or mixed 
ready for use. Either form has much to recommend 
it to the practical painter and decorator, and his choice 
depends largely on conditions governing the work in 
hand. Furnished in paste form, ground in oil or var- 



FLAT WALL PAINT 31 

nish, or both, it can be thinned with volatile thinners 
to make a perfectly flat job, and can be tinted, as in 
lead to the shade required. In thinning paste goods 
with naphtha, which can be used wholly or in part 
with turpentine, it is advisable to use the heavier naph- 
thas, or if these are not available, to add a pint or less 
of good, clean petroleum or coal oil to each gallon of 
naphtha to slow its evaporation and decrease the flow- 
ing properties of the goods. This does away with the 
piling up or ridging so common in flat work. If the 
thinner added to the paste dries too slowly, gasoline 
may be added. 

In connection with the production of a flat paint it 
is well to bear in mind that lithopone will stand a 
greater amount of elastic binder in the vehicle, and 
still flat out, than other white pigments. Any of the 
white pigments may be ground in coach japan or japan 
and varnish, and produce a flat paint when the paste is 
thinned with volatile thinner, but the film so produced 
is not an elastic film, such as is produced when the 
binder is oil. It is generally necessary to stipple a flat 
white lead job, even though the lead has been drawn 
with turpentine and a considerable part of its oil re- 
moved; but lithopone, even though it takes relatively 
more oil in grinding than lead, will flat so perfectly 
that no stippling is necessary, even though all the oil 
used in grinding is allowed to remain. 

Any additional care or expense involved in prepar- 
ing a satisfactory foundation for the application of 
flat wall finish is more than offset by the fact that stip- 
pling is not necessary; the brushing is done much 
quicker ; a wall finished with it can be washed a greater 
number of times than a lead-coated wair and without 
showing streaks and blotches, and when once a wall 
is coated with it, no special preparation is necessary 
beyond the usual patching and sizing incidental to the 



32 THE EXPERT HOUSE PAINTER 

natural wear of the building, before flat wall finish 
can be applied again. 

Lithopone is finer and shows more absorption for 
oil than lead does, but not as much as zinc. 

Lead, ioo pounds, contains about four gallons oil, 
while ioo pounds of lithopone is said to contain eight 
and one-half gallons oil. 

Lithopone of the best quality is lighter in gravity, 
and much bulkier than white lead. Ground stiff, it 
will absorb much more linseed oil, and will require a 
much larger container, owing to its much more bulky 
character. When mixed to a ready-to-use condition, 
it will have a considerably greater number of gallons 
per hundred weight than white lead mixed. 

Many difficulties have arisen from discoloration of 
leadless paints, and many hard words have been said' 
about them in consequence. This discoloration takes 
place with inferior makes of lithopone, or it may be 
due to the use of improper driers, or boiled oil con- 
taining lead driers. The finest grade when mixed with 
correct ingredients does not discolor, but keeps a beau- 
tiful white. 

In this case the fault is undoubtedly due to the lin- 
seed oil with which the pigment has been ground. The 
remedy is to grind the color with the oil just before it 
is employed, and to use only oil of the first pressing, 
and which is as pale as can be obtained. 

Some of Its Demerits. — It does not combine with 
the linseed oil in the same way as lead to form a 
tough paint film, and has a tendency to disintegrate 
more rapidly owing to its absorption of moisture more 
readily than lead. This defect makes it less protective 
in character for outside painting, and something must 
be done to repair, as far as possible, this weakness. 

In pursuing my investigations into this subject, the 
question naturally arose as to what was necessary to 



FLAT WALL PAINT 33 

strengthen leadless paint so as to make it compare 
more favorably with lead for outside use. Something 
seemed to be needed to act as a binder so as to toughen 
the paint film to a greater degree than linseed oil. 

Tests have proved that a good strong high-grade 
pale varnish will materially help to effect this desir- 
able result. There is little doubt that only with the 
addition of varnish will leadless white give satisfac- 
tory results outside. 

Exposed outside as an oil paint, it is liable to chalk 
and disintegrate. 

It must not be combined with lead ; being a sulphide, 
the compound is liable to blacken. 

There is one way in which lithopone can lose its 
whiteness and that is by the addition of white lead, 
litharge or lead colors. White lead is acted upon by 
lithopone so as to sulphate it and blacken the lead, so 
that it is important that for white paints you should 
keep them separate. If they should get together in old 
paint stock of darker tints, there is no harm, as they 
do not act upon each other to cause peeling. 

It may be that some of the tests have proved greater 
failure than others, owing to lack of knowledge of the 
best method of mixing leadless paint. Much more oil 
should be used in mixing, and there should be a larger 
percentage of driers than is used in the mixing of lead, 
and a somewhat fuller coat should be given. 

A large proportion of these flat finishes are very dif- 
ficult to break up, probably due to some presence of 
rosin compounds that combine with zinc oxide. Most 
of them are composed of lithopone in combination 
with other pigments, some containing whiting. We 
found very few of these could be applied with ease. 
Most of them had a comparatively light petroleum 
thinner and would not flow out as the manufacturer 
claimed. Some contained lead and were off color. 



34 THE EXPERT HOUSE PAINTER 

Regarding Its Toxic Qualities. — There is abso- 
lutely no poisonous matter in the pigments. The 
liquid is universally a flat drying china wood oil var- 
nish (in its essential composition) identical with most 
of the better grades of varnish ordinarily used by 
painters. There is nothing volatile or poisonous in 
such a varnish subjected to the heat of manufacture. 

The volatile thinner is almost universally asphaltum 
spirits — that is, a heavy benzine with a high boiling 
point. The trouble comes from this ingredient, if it 
comes at all. 

Doubtless the inhalation of benzine vapor in a closed 
room will produce the phenomena of ordinary smoth- 
ering — insufficient oxidation of the blood; but it will 
not do so as quickly as the more volatile benzine ordi- 
narily used by painters ; nor will it produce the serious 
toxic effect of turpentine vapor inhaled in similar cir- 
cumstances. 

All painters, everywhere, constantly use paints and 
varnishes containing large percentages of the volatile 
thinners above described and all painters have hereto- 
fore habitually used white lead "flatted" by them- 
selves by "washing out" a proportion of the oil with 
turpentine. They also frequently use the still more 
toxic wood alcohol in shellac varnishes, where it is 
employed as a denaturant of ethyl alcohol. 

Any and all of these materials can, when used with- 
out ordinary care, produce disagreeable effects, and 
some of them, especially wood alcohol and turpentine, 
may involve serious consequences; but the least dan- 
gerous and the least injurious of them is the heavy 
gravity petroleum spirit used in flat wall finishes. 
This product is safer than the rest, not only because it 
evaporates more slowly and its vapor, being heavier, 
flows away more rapidly, but also because it is actu- 
ally less toxic than the rest. 



FLAT WALL PAINT 35 

The remedy is ventilation — the ordinary natural 
ventilation dictated by common sense. If this be pro- 
vided no ill effects can possibly accompany the use of 
these finishes. Furthermore, under duplicated condi- 
tions, they are less injurious than "flatted" lead, ordi- 
nary high-grade paint or first-class varnish. 

Lithopone. — The two raw materials which are 
used for making lithopone are zinc metal, or spelter, 
and barytes. The zinc is brought into solution and the 
barytes is furnaced and converted into a clear, trans- 
parent solution of barium sulphide. When these two 
solutions of zinc sulphate and barium sulphide com- 
bine, the two metals, zinc and barium, exchange their 
acids. 

The soluble zinc sulphate is converted into insoluble 
zinc sulphide and the soluble barium sulphide seizes the 
sulphuric acid from the zinc sulphate and is converted 
into insoluble barium sulphate. 

Research laboratory work has proven that the re- 
sulting article is not a mere mechanical mixture of 
zinc sulphide and barium sulphate, but a close molec- 
ular mixture, so that we have the new product which 
we call lithopone. 

The precipitated lithopone is dried and then ground 
in wood oil. In some lithopone factories the litho- 
pone is thrown red-hot from the calcining ovens into 
cold water. It is supposed that it thus acquires a finer 
grain and more body, but this appears to be a mistake, 
and the practice necessarily involves a second filtration. 
The sulphide of barium used is seldom made from pre- 
cipitated sulphate of baryta, and nearly always from 
the natural salt, heavy spar or barytes. 

Notes on Lithopone Wall Paint 

Flow it on more freely than white lead paint. 
Lay it off like calcimine, not like lead paint. 



36 THE EXPERT HOUSE PAINTER 

Use a wide, flat wall brush — you can get over the 
ground faster. 

A good paint does not set too quickly, hence one 
man may do a large surface. 

If it does dry too fast, add a little raw oil, table- 
spoonful to the gallon ; this will prevent laps and make 
it work easier. 

Not more than 15% benzol should ever be used to 
thin out this paint. Raw linseed oil is best. 

Cracks, etc., filled with plaster must be coated with 
shellac before sizing walls and painting. 

Some brands of this paint make it possible to 
touch up missed or defective places after the surface 
has been painted, without showing the fact. 

Never paint over a damp wall. If you have done 
so, then paint it over with white lead paint. 

Common putty will show through this paint, so the 
putty should be made from dry white lead, whiting 
and gold size. 

As liquid driers contain lead they must not be used 
with this paint. 

Pigments based on lead will not do. For yellow 
use zinc yellow, and for blue use ultramarine blue. 
But any pigment free from lead can be safely used. 

Don't brush out this paint, flow it on and brush as 
little as possible. 

A painter says : "I have done many churches with 
this paint, but never follow directions of makers. 
First, I give walls a coat of white lead in oil, thinned 
with 1/5 turpentine; second coat, lead with double 
quantity of turpentine as oil; then I apply the flat 
wall paint, two coats as a rule. On some walls one 
will do." 



FLOOR PAINTING 

The floors usually painted, and the oftenest, are the 
porch and kitchen floors. Such floors experience hard 
service, hence the paint used must be hard and tough. 
The new porch floor should have its boards painted on 
the under side before laying, unless the location be 
quite dry normally. The edges should be leaded and 
joined while the lead is fresh. If the space under the 
floor be damp normally a coat of oil paint on the 
under side will resist rot, and will well repay its cost. 
The lead in the joins will keep out surface water, and 
should the seams here and there chance to open some, 
they may easily be closed with putty, each time re- 
painted. This also will repay its cost. If the space 
beneath a porch floor is normally dry there will still 
be a certain amount of moisture in the air, caused by 
being enclosed and shaded continually, that will not 
injure the wood, but will keep the boards from separat- 
ing so as to show open seams. This I have observed 
in my own porch floors, so that no priming is re- 
quired there. Of course the painter cannot control the 
lumber producer nor the carpenter, but, given fairly 
good flooring, he can treat the floor so that its useful- 
ness will be extended over many years. Let the floor 
become as dry as possible before painting it. This will 
develop cracks and other faults, so that they can be 
corrected in the painting. Usually the floor is formed 
of hard pine, but this is not always the case. Hard 
pine is difficult to paint, and it should be done the 
same as indicated for hard pine siding, which see. A 
pine having less pitch would be better for painting. 

37 



38 THE EXPERT HOUSE PAINTER 

The paint itself must be a special kind, one that will 
dry hard and yet be elastic. The addition of some 
good copal varnish will give the paint these features, 
and the employment of pigments having a hard nature, 
such as the mineral pigments, ocher, for instance, will 
give a hard paint. Raw oil and turpentine furnish the 
thinners, with the proper quantity of driers. The 
primer for hard pine may be made from white lead 
thinned with turpentine, and a portion of oil. As 
stated under the head of exterior painting, hard pine 
priming might have some pure pine tar added, and 
is worth trying. The addition of a spoonful would 
at least do no harm. The thinners may be raw oil 
% part, and turpentine or benzol ^4 P art - Do not 
use more driers than is needed to properly dry the 
paint, and this will depend upon the weather or season. 
Too much driers softens paint, and this of course will 
not do. Rub the priming well into the wood and leave 
very little on the surface. Use thin priming. Thin 
the second coat with equal parts of raw oil and tur- 
pentine and driers sufficient. This forms a firm, 
elastic surface for the finish coat, if three coats in all 
are to be used. This finish coat may be made from 
white lead and zinc white, in oil, and a proportion 
of finely pulverized silica, also ground in oil, colored 
as desired, thinning out with a hard gum varnish to a 
brushing consistency. It is best to color the priming 
and succeeding coats a little, gradually working up to 
the finish color. This however is not always done, 
nor is it absolutely essential, but the practice has much 
to commend it, and careful painters like to observe the 
practice. 

The following formula for dust color is a good ex- 
ample of what a porch floor paint should be as to its 
composition. Of course, any color may be used, as 
your patron may desire, but the preferred colors for 



FLOOR PAINTING 39 

this kind of work do not form a very large list; dust 
color, lead color and drab are mostly used. 

Formula for Dust Color Paint. — Take of the 
following dry pigments : 25 lbs. zinc white, 5 lbs. white 
lead, 10 lbs. bolted gilders whiting, iy 2 lbs. French 
yellow ocher, % lb- lampblack; sift or mix all together 
and form into a stiff paste with raw linseed oil; thin 
out for use with a mixture of turpentine 53/2 quarts, 
hard drying copal varnish 4 gallons, and driers suf- 
ficient, though litharge is better than japan driers in 
this case. Yellow ocher and finely ground silica add 
to the wear-resisting qualities of the paint; zinc white 
hardens it, but is a pigment liable to scale, hence must 
be used in moderation; varnish toughens the paint. 
Boiled oil must not be used, nor much raw oil, al- 
though I have done most excellent wearing floors with 
oil finish paint, only it will need repainting sooner. 
Some white lead is good, but not too much, as it is a 
soft pigment. Portland cement and plaster of Paris 
also are used in some formulas. Some prefer fine 
flour pumicestone to plaster. It is more porous. 

Here is a formula for a buff color floor paint. 
American yellow ocher, dry, 35 lbs., whiting 5 lbs., 
barytes 5 lbs., Portland cement g]/ 2 lbs.; all the pig- 
ments named are to be in the dry state ; thin to a paste 
with raw oil, and thin to brushing consistency with 
turpentine and varnish, rather more varnish than 
turpentine. 

Mr. Karl Holm, of Van Wert, O., writes us that the 
following formula was used in Germany where he 
learned his trade, and was esteemed as a very durable 
floor paint. Mix up some white lead with boiled oil 
to form a stiff paste, coloring as desired. Burn some 
old paint skins and grind the ashes in turpentine in 
a hand paint mill; their purpose being to harden the 
paint. Add sugar of lead for the drier and some tur- 



40 THE EXPERT HOUSE PAINTER 

pentine, thinning out with boiled oil, which must be 
genuinely boiled oil. This paint is used for all the 
coats, the priming coat included, only using a little 
more turpentine for all the coats but the finish, which 
may be done with varnish, or not, as desired. This 
formula differs essentially from any we have employed 
in this country; the ashes and the boiled oil both are 
unique, but no doubt the paint was all that was claimed 
for it. 

An old painted porch floor that has worn in places 
should be touched up with paint indicated for second 
coat of new floors ; when dry, sandpaper off and apply 
finish used on new porches. It may need only the 
touch-up, or if bad enough better apply a coat all over 
floor and steps, after the touching-up. 

Now we come to the interior floor. The kitchen 
floor is usually of hard pine, or other form of pine, 
perhaps one not so resinous as hard pine, and in conse- 
quence easier to paint. It is generally conceded that 
the painted floor is the best sort of floor for the 
kitchen — better than linoleum and cheaper. The paint- 
ing and paint may be about the same as indicated 
for the porch floor, though a less hard paint will 
answer. Here is a formula for paint for a new 
kitchen floor. If hard pine, thin up some white lead 
ground in oil, using as thinners turpentine or benzol, 
preferably the first, as benzol is not very pleasant of 
odor and rather harmful too. This is the priming 
coat. For next coat, if a light colored paint is wanted, 
the base may be zinc white or lithopone ground in oil, 
with any desired coloring. The formula is thus: 
Beat up a gallon of zinc white or lithopone to a stout 
paste, add one-half gallon of good brown japan, beat 
up again to a paste, add a little turpentine, then thin 
out with hard copal varnish, one that dries in about 
12 hours, thinning out to a proper brushing con- 



FLOOR PAINTING 41 

sistency. The third coat and last coat is of this paint. 

A quick-drying coating for the kitchen floor may 
be made with shellac containing any desired coloring. 
But just at this time shellac is extremely high in price ; 
likely a good substitute or a hard oil finish might 
answer. Use dry earth pigments with the shellac ; and 
give two or three coats of a hard gum floor varnish, 
if only one coat of shellac is given. The outside floor 
can be finished natural too, of course, though it seldom 
is; apply a primer of three parts raw oil and one part 
turpentine, with driers sufficient. Let this have plenty 
of time for drying, then apply one coat of spar 
varnish. 

An inside hard pine floor had better be shellacked 
first, as oil darkens the wood in time; two coats of 
shellac and a wax finish. Some like two coats of wax 
finish on the bare wood, rubbing to a polish. 

If a floor or stairway must be painted so as to dry 
soon enough not to stop use for more than the night, 
color shellac with dry pigment and thin down with 
alcohol; apply two coats and give an hour between 
coats. Such a coating would allow of use in three 
hours, if needed. It certainly would be hard by 
morning. 



PAINTING EXTERIOR WOODWORK 

When pure white pine was the sole building lumber 
of our country painting was a very simple matter. It 
is an ideal wood for taking paint, and there is scarcely 
another to take and fill its place. To-day we have 
many kinds of lumber to deal with, and hence the dif- 
ficulty of doing satisfactory painting; hardly two de- 
mand the same treatment. Some of these woods are 
not fit at all to take paint, yet we are obliged to paint 
it. But we do not guarantee results. 

White Pine. — This is not the white pine that the 
grand old forests of Pennsylvania used to give us, and 
which was the best in the world, but so-called white 
pine, some of it fairly good, yet none of it as easy to 
paint as the old-time wood. It has more knots, 
coarser grain, not uniform of color, hardly white, and 
in general but a substitute. However, we must make 
the best of it. A recent writer says of this wood: 
"While paint dries well on this surface the lumber runs 
to occasional pockets, into which paint penetrates very 
slowly. Over the sap and pitch pockets the paint dries 
very poorly, and unless ample time is given for 
thorough drying over these places the paint will break 
loose in a very short time after the priming coat has 
been applied. These pitch pockets are easily detected 
by the paint spotting. Don't paint over such places 
until the paint has become perfectly dry." 

The priming coat for white pine and all soft woods 
should be composed of white lead thinned well with 
raw linseed oil, with a little japan driers. Some add 

42 



PAINTING EXTERIOR WOODWORK 43 

a little turpentine to assist penetration. Raw oil 
alone, with a little driers, is favored by some painters. 
But when lead is mixed with the oil we get both the 
filling of the wood tissue with oil, to preserve it and 
prevent undue robbing of subsequent coats of their oil, 
and some surface to work the second coat on. A 
formula given by some painters is as follows : White 
lead 80 to 90 per cent., raw oil 20 per cent., and tur- 
pentine 10 per cent. This formula can then be modi- 
fied by adding more lead, and using it for the second 
coat. The third coat could have 90 per cent, oil and 
10 per cent, turpentine. Most, however, omit all tur- 
pentine from the last coat. A master painter says: 
"In my practice I have found that the 10 per cent, tur- 
pentine enabled me to more fully control the applica- 
tion of the paint. Frequently, in the Eastern States, 
we are required to give new work three coats in addi- 
tion to the priming coat. In this case my third coat 
consists of 85 per cent, raw oil and 15 per cent, tur- 
pentine. I would give the fourth coat 10 per cent, 
turpentine, in addition to the oil." 

The following method for painting exterior white 
pine woodwork was communicated to me several years 
ago by an old and experienced Pittsburgh master 
painter, and for a white job that is to retain its fresh 
look for some years he said nothing could equal it. 
A large part of his experience with white lead paint 
was with the splendid river craft which operated be- 
tween that city and New Orleans and other river ports. 
Such work demanded unusual care and ability of the 
painter, and a white paint that would stand there 
would undoubtedly stand on a house. 

The priming coat consisted of white lead in oil, 
thinned at the ratio of six pounds of lead to one gallon 
of linseed oil, raw, and one pint of turpentine, with an 
ounce of powdered litharge as driers, the mass then to 



44 THE EXPERT HOUSE PAINTER 

be Strained, after thorough mixing, this being then 
well rubbed into the bare white pine, across the grain. 
Whether it was allowed to stand some time before ap- 
plication I failed to ascertain. The second coat was 
lead mixed with equal parts of oil and turpentine, 
omitting the driers. The third and last coat was made 
from white lead thinned thus: The oil is a drying 
oil, made by boiling a pound of litharge to a gallon 
of oil, allowing the oil to boil for 35 minutes, after 
which remove from fire and allow to stand over night. 
In the morning pour off the clear oil, leaving the sedi- 
ment remain at the bottom of the vessel. This, he 
added, made the best drying oil known. He probably 
was not aware that the sediment, which no doubt he 
discarded, would make even a better drying oil if 
used again. At least that is what the chemists say. 

Now the lead was thinned with this oil to a degree 
that would allow the paint to readily run from the 
paint paddle. Nor is this all ; one-fourth of an ounce 
of beeswax is to be added to the oil while boiling, 
or else dissolved separately in some hot oil. This 
quantity of wax sufficed for a gallon of paint. The 
purpose of the wax is to prevent the paint from run- 
ning and from chalking. The paint dries with a fine 
gloss, and under cover retains the gloss for several 
years, five or six. Of course this method demands 
some time and work, but seems to be worth it, where 
a strictly first-class job of white painting is desired. 
Color may be added. Less white lead seems to be re- 
quired by this process than usual. My aged inform- 
ant concluded his letter with the observation that 
chalking of white lead paint may justly be laid at the 
doors of the painters, who take no care to prevent it. 
He believed that the addition of a very little fat oil 
added to the life and beauty of the paint. 

In undertaking to paint a new structure's exterior 



PAINTING EXTERIOR WOODWORK 45 

we must first of all study the character of the wood- 
work. In the following observations regarding paint- 
ing the various woods, this matter will be fully dis- 
cussed. We shall find some woods have a hard and 
close grain, while others have a soft, open grain ; some 
soft and spongy, others compact and solid. Then the 
wood may have been kiln-dried, or it may have been 
air-dried. Too much heat and consequent rapid dry- 
ing makes the surface of the wood hard and brittle. 
Such a surface cannot take ordinary paint well, it will 
not penetrate the shell. Air-seasoned wood is the 
better of the two, for it has dried in the natural way. 
Again, some of the lumber in the building may have 
been air-dried, the remainder kiln-dried, and that pre- 
sents another difficulty in the painting. Taking these 
factors with others well known to painters and which 
will be taken up in subsequent pages, one not familiar 
with the subject gets some faint idea of what it means 
to successfully paint exteriors of buildings, saying 
nothing of the interiors. We have considered the 
painting on white pine, now we will proceed with the 
various woods in their order. 

Bass Wood. — This wood is being extensively used 
in some parts of the country in place of white pine, 
and it has some of the be^st features of that wood, too. 
It has a close, straight grain of compact structure, is 
light of weight, soft but tough, and easy enough to 
season well; but it is not very durable. Paint dries 
as well on it as on white pine, and it takes paint very 
readily; but the priming coat should contain much oil 
and this with little driers, giving the oil plenty of time 
for soaking into the wood; apply with a full brush, 
and rub out well and evenly. In some places this wood 
is known as linn or linden. It has an even, white 
color, so that white paint covers easily and two coats 
will hide the wood completely. 



46 THE EXPERT HOUSE PAINTER 

Poplar Wood. — This is perhaps the best sub- 
stitute we have for white pine. Its behavior with 
paint seems to be the same as that of the other wood 
named. It is soft, stiff, clear, fine and straight- 
grained, seasons well and shrinks very little. Paint 
dries very well on it. A carpenter informs me that 
poplar wood is inclined to warp, but this I think does 
not apply to both the yellow and white poplar. I have 
repainted houses built entirely of this wood, and found 
the wood in as good a condition as white pine would 
be with the same exposure and years of service — no 
warping that I could discover. Priming coat should 
be the same as indicated for white pine, and be ap- 
plied the same. 

Cottonwood. — While this wood resembles poplar 
in many of its features, yet it is less desirable, owing 
to the difficulty of seasoning it and its liability to 
warp, besides which it absorbs moisture readily, and 
exposure to the weather for any considerable length 
of time will result in its decay and darkening; it must 
be protected fully by paint. Being also subject to 
dry rot if any moisture is in it when paint is applied, 
the rot will proceed beneath the paint. The prim- 
ing coat should contain plenty of oil and be allowed 
a long time for drying, so that the wood may become 
saturated with the oil, which will tend to preserve 
the wood from decay. Two-coat work cannot be done 
with satisfaction on this wood. 

Elm. — A tough, fibrous, durable, strong, hard, 
heavy, and often cross-grained wood. While used 
extensively for heavy timber and structural work, it 
is not used to any great extent for exterior building. 
Heartwood, light brown; sapwood, yellowish white. 
Seasons moderately slow and takes paint readily on ac- 
count of its fibrous nature. For priming, the reduc- 
tion should be to a medium thin consistency, carrying 



PAINTING EXTERIOR WOODWORK 47 

sufficient turpentine to assist in penetration and work- 
ing. The priming coat should be applied with a full 
brush and be well and evenly brushed out. The paint 
dries well on this lumber, but ample time must be 
given for thorough hardening. Satisfactory two-coat 
work can be done over this surface if judgment is 
used in reducing the priming coat, and the surface fully 
satisfied and evened up. 

Spruce. — A house covered with spruce clapboards 
should not be painted until it has stood thirty days 
or more. If cracking or shrinking of the wood is to 
occur, it should be found out at this stage, and putty 
would remedy the trouble. 

If a rain storm should thoroughly soak the wood, it 
would cause little or no harm. On the contrary, it 
would open up the pores of the wood that had been 
calendered or rolled down by the machine that cut and 
smoothed the clapboards, and afford a better founda- 
tion for the paint than the smooth hard clapboard. 

A little more turpentine may be added for priming 
coats on spruce wood, as it is quite hard by nature. 
Five per cent, of benzol might be added for penetra- 
tion. 

It often occurs that the owner or builder of a new 
house insists on having spruce clapboards or weather- 
boards primed almost as soon as they are nailed on. 
In such cases cold water may be added to the priming 
color, about one pint to one-half gallon of paint. This 
water will not thoroughly mix with the paint, but will 
be distributed through it in small globules. The paint 
should be frequently stirred. 

An old painter of my acquaintance frequently said 
that "the man who did not know how to use water in 
his paint did not know his business." 

The addition of the water to the oil paint is to pro- 
duce mechanical results, and is not intended in any 



48 THE EXPERT HOUSE PAINTER 

way to cheapen the paint or to cheat the customer. 
Linseed oil paint, however well brushed, cannot be 
driven into the pores of hard spruce wood, especially 
if the wood is sappy. The addition of the water, when 
worked against the wood by the brush, opens the 
pores of the wood and gives the paint a firm lodgment. 
Moreover, sappy and wet clapboards painted in this 
manner will dry out flat, allowing a better foundation 
for succeeding coats, while pure oil paint will dry 
glossy on every clapboard where the fiber is hard or 
sap is pronounced. Such places will ultimately 
loosen and throw off all paint, as the pigment cannot 
attach itself to the fiber of the wood. 

"If spruce is primed with yellow ocher instead of 
white lead it will cause blisters to form in 20 years 
from the time the paint is applied, if repainted once 
or twice during the interval. Spruce clapboarding 
primed and painted with white lead will very rarely 
blister, and then only when moisture from below 
causes the paint to lift up from the wood/' — Wm. E. 
Watt. 

Redwood. — This is one of the most difficult woods 
we have to paint, owing to its hard, non-absorbent 
heart growth, and the soft wood outside of the heart. 
In priming redwood, therefore, we must add benzol 
or turpentine to the paint, a popular formula being 
30 per cent, turpentine and 70 per cent, raw linseed 
oil, adding also one-half pint of benzol to the gallon 
of priming paint. One-half pint of turpentine is de- 
ducted from the total of that fluid when the benzol is 
added. Add the benzol after mixing and when you 
are ready to use the paint, and not until then, as benzol 
is very volatile. Mix a thin primer and brush it well 
into the wood. 

Redwood is thought by some painters to contain an 
acid, and that this acid prevents paint from wearing 



PAINTING EXTERIOR WOODWORK 49 

well. Acting upon this assumption an expert car 
painter tells how he overcame the blistering and peel- 
ing that paint applied to the wood underwent after 
only a few hours of exposure to the sun. He states 
that he primed the wood with raw linseed oil contain- 
ing a pint of benzine to the gallon; this was allowed 
to remain on the wood about two hours, when it was 
rubbed off with a rag. The work stood then for five 
days, when it was given a coat of the following paint : 
To 15 lbs. flat lead color add 15 lbs. dry litharge, 
mixed as follows: Add enough best coach japan to 
make the litharge about like mush, then pour it into 
the flat lead. Stir the mass and run through a paint 
mill, make fine as possible, then thin to proper brush- 
ing consistency with turpentine, and apply three coats, 
one a day. This forms a hard and tough coating, 
proof against the acid of the redwood. 

Cypress. — A painter puts it this way : "Cypress is 
a wood of a very peculiar nature ; it is full of some 
greasy substance, so that when you give it a rub or 
two with sandpaper you find the paper clogged with 
a gummy stuff." It is indeed a peculiar wood to paint 
over, very different from all other woods. To prime 
it we need a paint that has super-penetrating powers; 
say 80 per cent, turpentine to 20 per cent, raw oil, the 
oil acting as the binder. Some prime the wood with 
benzol, and this seems a very good plan, as it softens 
up the gummy substance and causes the paint to ad- 
here and dry better when applied. Or, use benzol in 
the paint in place of the turpentine. One painter says 
he primes this wood with japan drier; this gives a 
good surface for the paint, or priming coat. If an all- 
oil primer should be used the result would be that cer- 
tain parts would not be dry, while the rest might be 
more or less dry. Driers help the drying, of course, 
yet on these gummy places the paint will not dry for 



50 THE EXPERT HOUSE PAINTER 

days, proving that driers are not efficient in such a 
case. Interior cypress work should be primed with 
shellac. Rub this down and apply the finishing coats 
of paint. After the priming apply two or more coats 
of stiffish paint, well brushed in, and a little turpen- 
tine in each coat excepting the finish. This wood 
ought to be primed as soon as possible after coming 
from the planer, for any dampness will raise its grain 
and make the surface rough. Yet some prefer to let 
exterior work stand to the weather for some time, say- 
ing that it then takes paint better. 

Yellow or Hard Pine. — As there are said to be 
39 varieties of pine in this country one might suppose, 
naturally enough, that there would be about 39 ways 
of painting pine, but not so, for it appears that they all 
are very similar of structure, being hard, heavy, tough, 
strong, compact, coarse and resinous, one as difficult 
as the rest as to painting. The primer should be 
white lead thinned with raw oil 30 per cent, and tur- 
pentine 70 per cent. ; in fact, just the same as indi- 
cated for cypress, which see. A two-coat finish is not 
feasible on this wood, because one must apply the paint 
quite thin, and hence it will require at least three coats 
to cover well. One prominent fault with painted hard 
pine is the scaling off; this is caused by the failure of 
the paint to attach firmly to the wood. To overcome 
this add one part of pure pine tar to seven parts of 
pure raw linseed oil; mix the primer paint with this 
fluid and rub it well into the surface. Then allow a 
long time to elapse before applying the next coat of 
paint; the second coat is made of white lead mixed 
thin with oil and turpentine, and some driers; if it is 
to be white finish then add a little lampblack to the 
second coat, which will make a more solid-looking 
surface than where the white alone is applied. Three 
coats should make a good finish. Heavy paint will 



PAINTING EXTERIOR WOODWORK 51 

result in blistering on this wood, hence thin coats. 1 
A painter says he did a job on hard pine, which he 
sandpapered and shellacked and then painted, but the 
paint would not adhere right; he then removed the 
shellac and paint to the wood, scraped and sandpapered 
the wood, then primed with equal parts of white lead 
in oil and dry red lead, thinning with two parts raw 
oil and one part turpentine, mixing the paint very 
thin. He strained this paint and rubbed it well into 
the wood. Allowing it to become hard-dry he ap- 
plied two coats of white lead paint, made in the regu- 
lar manner, and had no further trouble with the job. 
Many expert painters agree that this wood, on ex- 
terior work, will receive paint better if allowed to 
stand to the weather for a time, say two or three 
weeks, during which time weather that consists of sun 
and rain will draw out the sap and open the pores of 
the surface wood. But where the painting must be 
done at once the use of the torch is suggested, which 
will draw out the sap, which in turn can be scraped 
off. Then prime with equal parts of white lead and 
red lead, thinned with a little oil, but mostly with tur- 
pentine. Some use red lead alone, but red lead forms 
a too-hard surface, one that is not calculated to hold 
the next coat of paint well. Some red lead with the 
white lead no doubt does good, as one painter states, 
causing the whole paint to stick to the wood. A coat 
of benzine to the bare wood is advised by some, others 
using benzol. One painter tells us that a coat of ben- 

1 An experiment was made in 1900 in which a square, 100 feet, 
of Georgia pine, was nailed up on a southern exposure and 
primed with a mixture of pine tar one part, boiled linseed oil 3 
parts, without addition of pigment. When perfectly dry it was 
finished with two coats of white lead thinned with boiled oil. 
Examined after three summers, it was found in good condition, 
no checks, cracks or chalking. It had long been the opinion of 
the experimenter that clear oil priming on either wood or iron 
was better than a paint. 



52 THE EXPERT HOUSE PAINTER 

zine to the bare wood, letting this stand a week before 
priming, insures a durable job. It is thought that on 
almost any other wood the priming with benzine would 
cause the paint to scale, but this has never been 
definitely established, as far as I know. 

Under all conditions, in priming hard pine, thinner 
mixtures and more turpentine must be used than 
would ordinarily be employed in priming a hard sur- 
face, the amount of turpentine varying, according to 
the run of lumber, from 25 to 40 per cent, of the total 
amount of thinners used. Do not be afraid to use tur- 
pentine freely with this lumber, as this vehicle restores 
the life or vitality which nature has given it. 

Turpentine will assist in opening the pores of the 
wood and give greater depth of penetration, as well as 
carrying or driving the sap into the wood to a greater 
depth of binding on the hard or fat places. 

Apply the priming coat with a full brush and brush 
out well and evenly. Do not allow the brush to slip 
over the hard places, but work the paint well in. Ex- 
tra care must be taken in brushing over this surface in 
order to even up the priming and not have too much 
pigment on the hard parts. 

Paint dries slowly on hard pine, hence plenty of 
time must be given it to become hard-dry, with the 
wood taking up all it can of the thinners. In the cases 
of Oregon and Idaho pine it would be well to increase 
the percentage of oil to 55 per cent, for the priming 
coat, reducing the amount of turpentine in proportion, 
but allowing the full proportion of benzol. The ab- 
sorption is very uneven, varying from quite rapid on 
the clear, soft parts to very slow on the hard or fat 
parts. More trouble arises from the efforts made to 
hide the surface with heavy coats than from almost 
any other cause. 

It should be observed here that where hard pine is to 



PAINTING EXTERIOR WOODWORK 53 

be placed against a wall, as in wainscoting, the back 
of the wood should be given a coat or even two of 
white and red lead and oil paint. Some turpentine 
also will improve it. 

How to do Good Painting. — Year by year the dif- 
ficulty of doing good painting increases. The difficulty 
is mainly due to the character of the lumber that is 
now used in building construction, even including the 
best work, because we do not get even the poor lumber 
direct from the log, but must use stuff that comes from 
what the lumber cutters left behind them, forest culls, 
timber sappy, full of windshakes, knots, etc., and, 
through long water-logging or decay, soft and punky. 
Lumber is now being used for weatherboarding that 
a few years ago would hardly have been accepted for 
rough barn work. Lumber not so long ago considered 
unfit for exterior construction, hard pine of various 
kinds, spruce, cedar, bass, gum, redwood, and the like, 
woods either full of pitch or rosin or soft and spongy. 
In addition there is a scarcity of properly seasoned 
lumber; much of that used is either full of sap or 
moisture and is sure to cause paint to leave its sur- 
face, once the sun gets at it. Then there is the lumber 
that has been kiln dried to excess, which renders it 
like a sponge ; such a surface soaks up oil to the limit. 
If the painter understands this feature he will mix his 
priming with plenty of raw oil and some turpentine, 
so that the paint will penetrate the wood; he will rub 
the primer well into the wood, and not leave much 
paint on the surface. If he is not careful about this 
he will have a surface that will shake the paint off in 
time, simply because the paint film will lack oil to bind 
it on. Frequently, too, no thought is given to the 
proper thinning of the primer for hard pine or similar 
woods, fat with gum or rosin, as it is called, and the 
result is that the sun heats up the rosin and causes it 



54 THE EXPERT HOUSE PAINTER 

to run, taking the paint with it; in another place I 
shall describe the proper way to prime such woods. 
The primer that does for a soft pine will not do. 

Let it be remembered, then, that to insure good re- 
sults on new or very old, spongy surfaces, there must 
be sufficient pure raw linseed oil used in the first and 
second coats of any paint to properly fill the wood and 
arrest the absorption of the oil and binder from the 
paint film, and still leave enough oil to bind the pig- 
ment thoroughly ; and that where any new surfaces are 
hard and resinous, a liberal percentage of turpentine 
must be added in first and second coats to insure ade- 
quate penetration and assist the drying to a proper 
"face" or surface for recoating. 

That on old work that has been previously painted 
and presents a hard, impervious surface, equal parts of 
pure turpentine and pure raw linseed must be used in 
reducing the first coat to a thin consistency to secure 
proper penetration and homogeneous drying of the new 
coat of paint. That "elbow grease" must be used to 
spread any paint out into thin coats and brush it well 
into the pores of the wood, and unless so spread, satis- 
factory results cannot be insured. 

That a much more satisfactory and durable job of 
work can be done with a round or oval brush than 
with a long, wide wall brush. That under no circum- 
stances should a new house be painted before wet 
basements or the plaster have dried out. It should 
be borne in mind that every yard of green plaster 
contains nearly a gallon of water, and unless thorough 
ventilation is given and the moisture is allowed to 
evaporate and escape in that way, it must necessarily 
escape through the siding (which may have been 
thoroughly dry when put on) and the result must in- 
evitably be blistering or peeling. 

That painting during or following soon after a dew 



PAINTING EXTERIOR WOODWORK 55 

or heavy frost or fog, or in any heavy, damp atmos- 
phere, is likely to produce unsatisfactory results, as 
dry siding absorbs moisture very rapidly. That to 
the greatest extent possible, painting in the direct heat 
of the summer sun should be avoided. Paint on the 
shady sides of a building as much as can be done. 

Painting around fresh mortar beds should be 
avoided on account of the tendency of the oil in any 
paint to absorb the moisture and fumes from the lime, 
destroying the life of the oil and causing the paint to 
flat out and perish. Remember not to apply one coat 
of paint and let that stand a year or so before a subse- 
quent one is applied. It will have weathered suf- 
ficiently in that time to absorb some of the elasticity 
of the succeeding coat, so that the final result cannot 
be satisfactory. 

Again, don't apply a coat of paint and let it stand 
until it is bone hard before continuing the work — one 
coat should follow another within a reasonable time 
until the work is finished. If the under surface is al- 
lowed to get too hard, it will not have the proper 
"tooth" to allow the succeeding coat to get a "grip" 
or hold on it. 

Some Paint Formulas 

Old Interior Work. — Taking the ioo lb. keg of 
white lead as the unit, we will indicate the kind and 
quantity of liquids necessary to reduce it to the proper 
paint consistency. In the first place let it be under- 
stood that the old work must be made fit to receive 
the coats of paint. Interior painting is usually done 
in either gloss, egg-shell gloss, or flat paint. For the 
first coat, no matter what the finish is to be. take ioo 
lbs. white lead and thin up with one gallon of pure 
turpentine, one pint of turpentine driers, and if this 
paint is to go on an old gloss surface add a quart of 



56 THE EXPERT HOUSE PAINTER 

white mixing varnish, to prevent crawling. If the fin- 
ishing coat is to be a gloss, to ioo lbs. of white lead 
add four gallons, a little more or less, as the case may 
require, one pint of turpentine, and one pint of white 
turpentine japan. If the finish is to be egg-shell gloss, 
use three gallons of turpentine and one pint of white 
turpentine drier to the lead. If the finishing coat is 
to be dead-flat, draw the oil from ioo lbs. of white 
lead, and thin the lead with three gallons of turpen- 
tine and add a pint of white turpentine drier. 

New Interior Work. — The first or priming coat 
should be mixed with white lead, ioo lbs., five gallons 
of pure raw linseed oil, and one and one-half pints of 
turpentine japan driers. Second coat, ioo lbs. white 
lead, one gallon pure turpentine, two or three gallons 
raw linseed oil, and one and one-half pints white tur- 
pentine drier. If the finishing coat is to be in gloss, 
break up three pounds of white lead in turpentine, 
enough to form a smooth paste, then add a gallon of 
white enamel varnish. If the finish is to be egg-shell 
gloss, mix together ioo lbs. white lead, three gallons 
turpentine, and one pint of white turpentine japan 
drier. For a dead-flat finish, same as for old interior 
work. 

For Either Old or New Work. — If it is desired 
to get a clear white or some delicate tint which will 
not turn yellow, avoid oil in all coats but the primer. 
For a flat finish mix second and third coats for new 
work, and both coats for old work as follows : ioo lbs. 
white lead, three gallons turpentine, and one-half gal- 
lon of white mixing varnish. If more gloss is desired, 
increase the proportion of mixing varnish and reduce 
the quantity of turpentine. 

For Exterior Painting. In presenting these for- 
mulas let the reader understand that they are general, 
rather than otherwise. The painter will understand, 



PAINTING EXTERIOR WOODWORK 57 

of course, that conditions vary, and hence paint and 
application must vary also. However, the proportions 
given will serve very well as basis for estimates. Cer- 
tain woods, such as bass, linn, white pine, etc., require 
more oil than is necessary for hemlock, yellow pine 
and spruce. The wood should be perfectly dry before 
application of paint. 

Old Exterior Work. — Priming coat, ioo pounds 
white lead, four to five gallons raw linseed oil, one 
gallon turpentine, and one pint turpentine japan. Sec- 
ond coat, ioo lbs. white lead, about four gallons raw 
oil, and a pint each of turpentine and turpentine japan. 

New Exterior Work. — Priming coat, ioo pounds 
white lead, six to seven gallons raw linseed oil, one 
to two gallons turpentine, and one and one-half pints 
of turpentine japan. Second coat, ioo lbs. white lead, 
four to four and one-half gallons raw linseed oil, one 
pint turpentine and one pint turpentine japan driers. 
Third coat, ioo lbs. white lead, four to five gallons 
of raw linseed oil, and a pint each of turpentine and 
turpentine japan driers. 

The amount of driers necessary will be indicated 
by season and weather, also where much turpentine is 
added as a thinning agent less driers will be needed. 



REMOVING OLD PAINT 

Fire and certain chemicals act upon old paint to 
make it soft, in which condition it may easily be re- 
moved by scraping. Just which remover may be the 
best must be decided by circumstances. Probably the 
best all-around paint remover is the old gasoline torch. 
Prior to its invention painters used the charcoal burner, 
a sheet iron small stove that could be managed by one 
hand, the other hand being free to do the scraping. 
A charcoal fire was maintained in this burner, and 
while it did soften the hardest paint, yet it was hard 
to handle, clumsy, and had a habit of setting fire to 
the operator's clothes. The torch was a great im- 
provement, and today is the best burning-off tool we 
have. But it has its disadvantages too. It has set 
fire to many a building, through the carelessness of 
the operator mainly, who has used it under old cor- 
nices, for instance, where the flame has come in con- 
tact with loose combustible material and so set fire to 
the building. 

If you have a job of burning off on an old frame 
structure, select a still day. Be very careful, and re- 
member that should you set the building afire it may 
cost you something. It is possible for a tenant to sue 
the painter for damages, should the latter set fire to 
the property, thus invalidating the fire insurance, for 
the owner of the property could not be sued. 1 

1 The use of a benzine or naphtha torch to burn the old paint 
off a building preparatory to repainting has been held to be an 
increase of risk which voids the policy. An essential element 
in the case, however, is that the owner of the building shall 

58 



REMOVING OLD PAINT 59 

Don't rush the scraper; let the torch loosen up the 
paint, then follow with the scraper, a broad and not 
sharp blade. Take the torch in one hand, the scraper 
in the other. Wear a canvas glove on the right hand, 
to protect it from the blaze and hot scrapings. Keep 
nozzle of torch about two inches from the paint, and 
when burning off weatherboarding throw the flame 
downwards. Set your knife back of the flame, not 
too slanting, and push gently, do not force it. When 
the paint is soft it will need no pushing of the scraper. 
Take long strokes, not short ones. 

For columns, moldings, etc., instead of a knife use 
a wire brush; when the paint is quite soft give the 
brush one quick forward and backward stroke. 

After removing the old paint sandpaper the work, 
shellac any knots, then apply a primer of white lead 
thinned with raw oil ^ an d turpentine %. If the old 
paint is cracked and too dry to soften under the heat 
of the torch, give it a coat of benzol to soften up the 
hard paint. 

An expert master painter says of the torch burner : 
"I have as yet to find anything that will answer the 
purpose of removing paint as well as the burning-off 
process. An expert workman can remove twice as 
much paint with the torch as can be removed with the 
commercial paint removers; at the same time he will 
make a cleaner job. The torch does the work at a 
great saving over that of the paint removers." 

How to Clean the Torch. — To do its work at 
its best the gasoline torch must be kept clean. If it 
does not work freely and with force, it's a waste of 

have knowledge that such a torch is being used. If painters 
should use a naphtha torch for the purposes mentioned with- 
out the knowledge or consent of the owner of the building and 
the party holding the policy, the companies would probably not 
be able to escape liability. But when the owner is aware of 
what is going on and permits it he forfeits his insurance. 



60 THE EXPERT HOUSE PAINTER 

time to keep pricking at the nozzle with a needle ; take 
the top off with a wrench and unscrew the nipple with 
stout pincers, and likely you will find it choked with 
grit. Screw it up tight before using it again. 

When burning off with the torch have a bucket of 
water handy, in case of a blaze. 

How to Use Paint Removers. — There is a right 
as well as a wrong way to use liquid paint removers. 
The right way is to apply it freely and then let it do 
its work. The wrong way is to apply the remover, 
then at once begin to scrape at it. Brush it on one 
way only. Don't brush it back and forth after the 
remover has been applied, for this injures its solvent 
power; just let it alone for some time. Then try it 
with the scraper, and if still not soft enough apply 
more remover, putting it on one way and gently. Do 
this until the mass of paint has softened clear to the 
wood; then it is ready to scrape off. You will save 
time and money by following these instructions. Or- 
dinarily the remover will soften up old paint in a few 
minutes, but some cases require much longer time. 
For outdoors work use the thick liquid remover, espe- 
cially on upright work; this is to prevent running of 
the remover. The removers come in various degrees 
of density from a thin cream to a syrup. There are 
the paste, the semi-paste, syrup, and cream removers; 
ask the dealer for the one you need. If you require 
a slow-drying remover, one that will remain moist for 
one or two days, get the thick sort. 

Alkali Removers. — The strongest alkali remover 
is that made from lime and concentrated lye, mixed to 
a paste with water. Sal soda and fresh lime, in equal 
quantities, make a good remover. Take a pound of 
sal soda and one pound of fresh slaked quick-lime, 
dissolve the soda in water and then add the lime to 
it. For paint that is not very old and hard, plain; 



REMOVING OLD PAINT 61 

strong sal soda in hot water solution does. Make a 
paste from half -peck of fresh slaked lime, 20 lbs. 
of potash, or caustic soda, and 8 gal. of water. Con- 
centrated lye and caustic soda are one and the same 
thing; caustic soda is cheaper than potash. Concen- 
trated lye is a strong remover; take a box of the lye 
and mix with y 2 gal. of water, rain water by pref- 
erence, and let it stand until dissolved. 



PAINTING BY AIR-SPRAY MACHINE 

There are various forms of machines for spraying 
paint, air machines of low and high pressure, some 
operating by power, others by hand. The principle 
in all is the same. The paint is in a finely strained 
liquid form, and is forced through a fine nozzle under 
air pressure, the paint assuming a fine mist form, some 
of which floats away, but the major portion reaches 
and attaches itself to the surface that is being coated. 
A hand machine of from 150 to 250 lbs. pressure is 
a good size for general use ; it should be made as light 
and compact as possible, though strong and durable. 
Many of these machines are made to sell, rather than 
to give the best service. Some require very frequent 
repairs and attention; this will of course necessarily 
increase the cost of doing painting of this character. 

A sprayed job of painting when well done is very 
satisfactory, and in some respects at least is superior 
to hand-brushed work. It shows no brush marks or 
laps, it penetrates cracks and very fine crevices. As 
to comparative cost, machine work, it has been esti- 
mated, can be done for one-half the cost of hand or 
brush work on any job of fairly good size. The ma- 
chine is for large surfaces and jobs, and on ordinary 
jobs, such as a room or dwelling, the saving over 
hand work would be very much less. On jobs re- 
quiring several men and three or four days, it will 
pay to use the machine. Some dislike the machine 
because it sends the paint everywhere, as its opponents 
claim, but this can be entirely avoided by means of 
cloths and careful spraying. Then there are the drops 

62 



PAINTING BY AIR-SPRAY MACHINE 63 

or nipples left by it on the lower edges of beams and 
rafters, but this fault has been mostly done away with 
by the men having learned how to avoid it, so that 
now one may go through a building that has been 
painted by the machine in the hands of experts and 
not see any such faults. 

There is one thing important to remember when 
running an air spray machine; the moment it stops 
all hands stop with it, for the work stops. On diffi- 
cult work it is often advisable to send an extra man 
to handle the nozzle, so that the men can alternate and 
keep the machine going all the time ; by so doing you 
will more than make up the extra cost by the increased 
amount of work done. 

Care must be exercised in mixing and straining the 
paint, in order that the machine may not clog, which 
means loss of time and money. If you are using 
water color, and this is what is mostly used, have the 
mixing handy as possible to the water where you do 
the mixing. This saves time in carrying water a dis- 
tance. These things all count for or against your 
profits. Again, you can paint a seven-story building 
by the machine and never move it from the basement ; 
this is done by using sufficient hose to reach the top 
floor, and taking off hose as you descend to lower 
floors. This is also advised at the end of the day's 
work, in order to clean out all utensils and clean up 
for next day's work. 

It has been found best to have at least four men on 
one machine, two to alternate at mixing, straining and 
supplying the machine, and also to do the pumping, 
while the other two men do the spraying. On small 
jobs four men would be too many, they would not 
have a full day's work. The man at the spray end 
of the machine should be well experienced, but those 
who assist need not be experts. The head man must 



64 THE EXPERT HOUSE PAINTER 

know how to mix and apply the paint. The longer 
a man works at this the more expert he becomes, par- 
ticularly on extension work. 

The question is sometimes asked, How much brush 
work is necessary with the air machine? The only 
place likely to need hand work is around door and 
window frames. They used to cover doors and win- 
dows with material of some sort, paper or muslin, but 
this is unnecessary where an expert directs the spray. 

Since writing the above concerning paint spraying, 
in preparation for this edition of "The Expert House 
Painter," we have been favored with a full report on 
very extensive and careful tests that have been made 
with spraying machines in competition with hand brush 
work at Washington, D. C, on Government buildings. 
The report says : 

"The machine used in the experiments consisted of 
a 4 h.p. motor, a large air tank, and a 5-gallon paint 
tank. It required 220-volt direct current. For the 
roof work the paint tank was hoisted to the roof and 
two hose leaders were carried from the air tank located 
on the ground. Two operators could work at the 
same time with the paint tank which was fitted with 
two spray guns. 

"For the exterior work an experienced spray brush 
operator started the work on one side of the building 
and two journeymen with 4^2 -inch hand brushes 
started the work on the other side, which was a dupli- 
cate in size, shape and construction of the side selected 
for the spray test. After the work had been started 
a journeyman painter entirely unfamiliar with the use 
of the spray gun was shown how to operate it. He 
completed the tests, including the walls and roof area. 
It was apparent that a very short period of time was 
required to instruct a man to use a spray gun. The 
tests were of good size and included on the side walls 



PAINTING BY AIR-SPRAY MACHINE 65 

an area of over 8,000 feet and on the roof an area 
of nearly 9,000 feet. 

"The paint used for the exterior wall work was a 
lead paint tinted with ocher, weighing 17.6 lbs. per 
gallon for the first coat and 20 lbs. per gallon for the 
second coat. Both paints were easily handled by the 
spray gun. The paint used on the roof was an oxide 
of iron paint weighing about 14 lbs. per gallon. The 
paint used for the interior work was a modern san- 
itary flat wall paint of the lithopone type, weighing 
14 lbs. per gallon. It was apparent that the spray gun 
would successfully handle paint of practically any 
weight per gallon. 

"In doing the first coat on the exterior brick walls, 
all cornices and trim were cut in with the spray on 
the side of the building where the spray test was made. 
On the second coat, however, the cornices were cut 
in by hand with a brush, in order to assure a neat job. 
The time of the brush work was counted in as spray- 
gun time. 

"It has previously been assumed that the average 
journeyman painter, working on wall surfaces and 
using a hand paint-brush would do about 200 square 
feet an hour, or about 250 square feet an hour on 
roof work. It will be noted in the attached tables 
that apparently much greater speed was attained in the 
hand-brush work. It is assumed that this was due to 
the great interest of the painters in the test. 

"Observation of the completed work showed that 
practically no difference in the appearance of the spray 
and the hand-brush work existed, with the exception 
that the spray work was slightly more opaque. The 
painters in applying the paint by hand with 4^ -inch 
brushes used drop cloths at the base of their work, 
whereas no drop cloths were used by the spray work- 
men. There was apparently little paint falling to the 



66 THE EXPERT HOUSE PAINTER 

ground, the only loss being in the form of a fine mist. 
On a damp day this mist, of course, would be greatly 
intensified, due to the presence of the volatile constit- 
uents of the thinner. The mist was of a somewhat 
colloidal character and the effect was largely optical. 
On the interior work, however, a noticeable difference 
was shown. The mist in the room where the paint 
was being applied by spray guns was very noticeable. 
Drop cloths were required on the floors in order to pre- 
vent staining. 

"On the interior tests, one room was done by two 
painters with hand brushes and two rooms with the 
spray gun by one operator. The rooms faced a court- 
yard in which the machine was placed with hose- lead- 
ers running up to the work. The ceilings of the rooms 
were arched, four arches meeting in the center of each. 
This made the painting rather difficult by hand, but 
very much easier for spray work. The side walls had 
four projecting columns, one at each corner, and be- 
tween the tops of these columns and the arched ceiling 
there was a heavy scroll cornice. Each room also had 
a fireplace and chimney breast and large recessed com- 
bination windows. The hand work was somewhat 
marred by streaks and the covering was very poor. 
The spray work was greatly superior. A very much 
heavier coating of paint was apparently applied. It 
was necessary to put on two coats of paint by the hand 
brush in some instances in order to get satisfactory 
covering." 

Exterior Work 

Previously Painted Metal Roof 

Area of Paint Time 

Surface Used 1 Man 

Sq. Feet Gallons Hours 

Spraying 578 1.49 .5 ( */ 2 ) 

Brushing 578 1.35 1.5 (1^) 



PAINTING BY AIR-SPRAY MACHINE 67 

Results Calculated to 10,000 Sq. Ft. 

Spraying 10,000 25.8 8:6 

Brushing 10,000 23.3 25.9 

Comparative Cost of 10,000 Square Feet of Work 

Spraying 25.8 gallons Paint at $4.00 $103.20 

8.6 hours Labor at $.90 , 7.74 



$110.94 



Brushing 23.3 gallons Paint at $4.00 $ 93.20 

25.9 hours Labor at $.90 23.31 



$116.51 

Spraying Requires Approximately 10 Per Cent. More 
Paint than Brushing. 

Brushing Requires Approximately 200 Per Cent. More 
Labor than Spraying. 

Exterior Work 

Previously Painted Brick Walls and Stone Cornice 

Area of Paint Time 

Surface Used 1 Man 

Sq. Feet Gallons Hours 

Spraying 8,364 10.8 20. 

Brushing 8,188 9.87 41. 

Results Calculated to 10,000 Sq. Ft. 

Spraying 10,000 12.90 23.9 

Brushing 10,000 12.05 50. 

Comparative Cost of 10,000 Square Feet of Work 

Spraying 12.90 gallons Paint at $4.00 $ 51.60 

23.9 hours Labor at $.90 21.51 



$ 73.11 



Brushing 12.05 gallons Paint at $4.00 $ 48.20 

50 hours Labor at $.90 45.00 



$ 93.20 



Spraying Required Approximately 7 Per Cent. More 
Paint than Brushing. 

Brushing Required Approximately 109 Per Cent. More 
Labor than Spraying. 



68 THE EXPERT HOUSE PAINTER 

Interior Work 

Combined Ceilings and Walls of Plaster 

Area of Paint Time 

Surface Used 1 Man 

Sq. Feet Gallons Hours 

Spraying 2,600 6.39 5.33 (5%) 

Brushing 1,000 1.75 5.33 (5y 3 ) 

Results Calculated to 10,000 Sq. Ft. 

Spraying 10,000 24.5 20.5 

Brushing 10,000 17.5 53.3 

Comparative Cost of 10,000 Square Feet of Work 

Spraying 24.5 gallons Paint at $4.00 $ 98.00 

20.5 hours Labor at $.90 18.45 



$116.45 



Brushing 17.5 gallons Paint at $4.00 $ 70.00 

53.3 hours Labor at $.90 47.97 



$117.97 



Spraying Required Approximately 40 Per Cent. More 
Paint than Brushing but Gave Quite Good Hiding in One 
Coat. 

Brushing Required Approximately 160 Per Cent. More 
Labor than Spraying and Gave Poor Hiding in One 
Coat, 



PAINTING BRICK WALLS 

New Walls. — Brick walls vary according to the 
quality of the bricks and their laying. Usually a new 
brick wall is left unpainted, unless it is desired to 
keep out rain or dampness. Where a residence, for 
instance, is finished in the finest pressed brick it is 
not essential to its adornment that it be painted, but 
with the lapse of time the application of flat brick 
paint will greatly enhance the appearance, and this is 
done to a great extent in some cities. 

Any brickwork that is to be painted, for the first 
time, must first be made perfectly clean, by scraping 
and brushing down, to remove all loose parts and dust. 
Then it should have plenty of oil : two coats of thin oil 
paint. Some add half-and-half of oil and turpentine 
for the second coat, which will penetrate better than oil 
alone. My preference is for all oil, no turpentine. 
Having applied the two coats, all parts needing it may 
be puttied. This putty should be hard-drying, a putty 
of whiting and white lead combined. Now if the 
finish is to be in flat color, this may be one of the 
commercial or prepared flat brick paints, which are 
very desirable; thin out with turpentine, as usually 
directed on the can, and one coat should give a good 
solid finish. This paint is very thin, and requires nice 
brushing to produce a perfectly solid surface. Use a 
bristle wall brush, taking a stretch across the wall, 
working from a stage. There should be men enough 
to do the work so that no laps will be possible. Quick 
work too is required. 

69 



70 THE EXPERT HOUSE PAINTER 

Some painters say that as much as one-half oil in 
the flat finish will give a good dead effect, and no 
luster, while others advise the addition of some soap 
to the last coat, saying that it will make it flat, even 
though it contains much oil. Neither of these sug- 
gestions appeal to me, for the regular flat brick paint, 
that thinned with turpentine only, wears very well. 

Preparing a Wall for Flat Paint. — This has 
been briefly explained in the foregoing, but a few 
words in addition will be found useful. In some cases 
the walls may be much broken, and require other than 
putty for the filling. In which case plaster or cement 
may be used. For the priming coat add some dry 
Venetian red to raw linseed oil and dose the bricks 
well with it. Rub it in well. A round paint brush 
is best for this work, one that has been used to break 
it in is best. A good formula for this priming coat is 
Venetian red 20 lbs. and raw linseed oil 10 gals. This 
coat should have about two weeks for drying. Then 
apply a coat of paint made from Venetian red in oil 
75 lbs., white lead in oil 25 lbs., and Indian red in oil 
3 lbs. Mix thoroughly and let it stand 24 hours, then 
it is ready for use ; thin out with raw oil with enough 
turpentine to somewhat deaden it, and then let it have 
several days for drying. Then it is ready to receive 
the finish of dead flat paint and the striping of the 
joints. 

Where brick work is painted in dead flat it is usual 
to line the joints between the bricks, to make the effect 
of mortared joints. This is a very particular job, 
very difficult in the hands of the inexpert, but who 
with care may do very fair work. The following des- 
cription of this work will greatly help the inexpert 
painter, by carefully following instructions. The 
work is best done from a stage. White paint for lin- 
ing is made from white lead in oil, with a little driers, 



PAINTING BRICK WALLS 71 

and is mixed rather stiff, or rather stouter than 
ordinary white paint. Fill a pound brush with this 
white paint, holding it in the left hand, which also is 
to hold the straight edge, a narrow and beveled 
wooden strip, and you are ready for work. First, 
there are two kinds of lining brushes for this work, 
one for the long lines, across the face of the wall, the 
other for the vertical short lines. The first named tool 
is known as the liner, the other is the header. So with 
paint brush in hand, lay the beveled rule along the 
top edge of the row of bricks, and filling the liner with 
paint from the loaded paint brush, carefully draw the 
liner along the edge of the rule as far as it goes. 
After doing several of these lines use the header for 
joining them at the ends of the bricks. Draw the 
liner firmly but not too hard along the straight edge, 
which hold true to the line of bricks. Some have a 
straight edge with a small level attached, which en- 
ables them to get a true horizontal line; but this we 
do not think will as a rule be necessary, for all you 
will have to do is to get the general line of the bricks, 
using your eyes, too, in order to get straight-appearing 
lines. In the best work the practice is to run the line 
along the top edge of the bricks, just beneath the 
mortar; this because the brick is smoother than the 
mortar. 

The liner is a thin brush two or three inches long, 
while the header is much shorter; both are made with 
hog bristles, short and stiff. 

Brick Color Formulas. — In making brick paints 
remember that French yellow ocher is used to pro- 
duce the lighter shades of brick color, with the addi- 
tion of a little blue for intermediate shades, while for 
the dark shades much blue is used; the pigment used 
is Prussian blue. By varying the proportions of these 
colors we get many different shades of brick color. 



72 THE EXPERT HOUSE PAINTER 

Red Brick. — White lead 4 parts, Venetian red 2 
parts, Indian red 1 part. 

Pressed or Philadelphia Brick. — White lead 4 
parts, Venetian red 2 parts, Indian red 1 part. 

Dark Brick Red. — Add Prussian blue to the above. 

Cream Brick Color. — Take white lead and yellow 
slightly with French yellow ocher, then add a very 
little raw umber. 

Buff Colors. — These may be made from white 
lead, yellow ocher and raw sienna, varying the propor- 
tions so as to give the shade desired. The addition 
of a little raw umber will give a Milwaukee color. 

Painting Old Brick Work. — The principal 
trouble to be apprehended in the painting of an old 
brick wall is the possibility of its peeling, or blistering, 
but this may be avoided if the work is carefully scraped 
and made clean. A stiff wire brush is good for re- 
moving scale and soft parts, after which a good sweep- 
ing down with a broom is well. If the work has 
once been painted the preparation will be regulated 
by the condition the wall is in. All defects must be 
puttied or cemented smooth and tight. Raw linseed 
oil is always the best liquid that can be used on brick- 
work, and the more the better. A little Venetian red 
may be used with the priming coat, though some 
painters use only the oil. This priming coat should 
have plenty of time for drying hard. Use driers with 
it. After it is dry apply a coat of paint composed of 
the color the finish is to be, though in any case some 
white lead should be used with it, say, a third of the 
lead. Thin this with a mixture of two parts raw oil 
and one part turpentine, with driers. The third coat 
may be composed of such pigments and color as de- 
sired, but thin with real boiled oil and a very little 
drier. This will give a good wearing surface with a 
gloss effect. Usually Venetian red is used on such 



PAINTING BRICK WALLS 73 

work, but the addition of lead does not affect the red 
color, while it gives body to the paint. 

Some first-coat the old work with a paint made up 
of old paint skins or fat paint, thinned and strained, 
using oil and turpentine, or benzine, and applying the 
paint very thin. This would no doubt do a very good 
job, filling the coarse work full of pigment and mak- 
ing a solid foundation. 

Brick painting should be done only in dry or fair 
weather, if possible, and the bricks should be dry. 
Otherwise there is danger of scaling of the paint. 

Removing Old Paint. — Where the old paint is not 
in good condition, or not firmly attached to the 
bricks, it must be removed. Scraping offers one good 
method. Or the paint may be burned off with the 
torch, or by means of strong lye. 

A brick wall naturally damp will offer a poor sur- 
face for paint. It might be treated with the Sylvester 
solution, and I think this would give good results. 
Any dampness in a wall will show in time, after the 
painting, in a faded appearance, and finally in the peel- 
ing of the paint. Paint will protect a dry brick wall 
from outer dampness, rain, etc., and often this is the 
reason for the painting. Water enters bricks and in 
winter the water will freeze and chip the brick. 

Where a brick wall is painted for the first time 
it should have at least three coats of paint, including 
the priming coat. This priming coat may be made in 
the proportion of ioo lbs. white lead, thinned with 
9 gals, boiled oil and I gal. turpentine. This where 
white lead is desired rather than Venetian red for the 
first coat. For the next coat 4 gals, oil, 1/3 boiled 
oil and 2/3 raw oil, to the 100 lbs. of lead. The last 
coat may be rather heavier than this. 

To Clean Pressed Brick Front. — Make up a 
cleanser composed of soft soap 1 gal., powdered 



74 THE EXPERT HOUSE PAINTER 

pumicestone 2 lbs., and strong ammonia 1 pint. 
Apply in a thin paste form, using a fiber brush, and 
let remain on about 20 minutes or so, scrub well with 
hand scrub, and finally wash off with clear water. 
Use plenty of water. 

Green Mold, Mildew, Etc. — Wash off with an 
acid water and stiff scrubbing brush. Sulphuric acid 
is good for the purpose, but add it very slowly to the 
water, do not pour the water on it. 

Smoked Painted Brickwork. — Use the formula 
indicated for cleaning pressed brickwork. First re- 
move all loose smoke and dirt with a fiber brush or 
broom. Rub the alkaline solution well into the work 
with a fiber whitewash brush and let the stuff re- 
main on for a half-hour or so. Then rub it briskly 
with the brush, dipping the brush in clear water once 
in a while. Wash off with plenty of fresh water, 
using a large carriage sponge. A hose with spray 
nozzle is fine for rinsing off with. This treatment 
usually removes all soot, etc., stains. Sometimes an 
acid wash is good, following the alkali wash. 

Brickwork Turns Black. — This does not often 
occur, and its cause does not seem to be known. It 
may be due to dampness or to impure oil used in the 
paint. As it appears in spots it may be mildew. 
Various remedies have been tried on it, such as 
kerosene oil. Heavy paint containing some varnish 
has been tried, but in vain. It occurs both when the 
wall is dry and when it is damp, in dry as well as 
in damp weather. This does not look like mildew. 

Brick Efflorescence. — There are at least three 
different causes for this. On new work, carbonate of 
soda is the most common, after the lime-stains have 
been removed. This is due to the action of the lime 
mortar upon the silicate of soda in the bricks. Silicate 
of soda seldom occurs in bricks unless the clay used 



PAINTING BRICK WALLS 75 

is a salt clay. The only other white efflorescence of 
importance is composed chiefly of sulphate of 
magnesia. This is due to pyrites in the clay, which 
when burned give rise to sulphuric acid, and the 
latter unites with the magnesia in the lime mortar. 
The conclusions arrived at are these : Efflorescence is 
never due to the bricks alone, and seldom to lime alone. 
To avoid it the bricks should be covered with an oily 
preservative capable of preventing the salts from exud- 
ing. Linseed oil cannot fill the requirements, as it is 
injurious to the mortar. 

Efflorescence or white powder on bricks may be 
treated with hydrochloric acid and water, equal parts ; 
let dry, then wash off with clear water. 

Cleansing Brickwork. — To clean yellow bricks 
from stain and smoke take freshly powdered lime and 
sift it; take ioo parts of this and add water to form 
a thin milk of lime; boil in a copper boiler, and add 
i part bichromate of potash. Now mix up some lead 
sulphate in water, making a thin paste, or use sugar of 
lead or nitrate of lead; any of these will answer the 
purpose as well, and stir into the first mixture while 
boiling. Color with ocher to match color of bricks, 
then add cold water, after which run it through a fine 
sieve, drain it through linen cloth — a bag is good — 
and when all the liquid has drained out, leaving the 
residue, take the latter and break into bits, and dry 
in the open air. When wanted for use it may be 
mixed with water like lime, to form a wash, and be 
applied with a brush. 

In many cases bad stains might be painted out. 

To clean hard-pressed bricks from water running 
over them and depositing iron rust, add 2 lbs. medium 
fine pumicestone powder to two quarts of soft soap 
and one-half pint of ammonia water, stir the whole 
and apply. Let it remain for 30 minutes, rub with a 



76 THE EXPERT HOUSE PAINTER 

scrub brush, then sponge off with plenty of clear water. 
If this fails to remove all the stain then try oxalic acid. 
2 oz., butter of antimony i oz., dissolved in hot water, 
to which add, to form a paste, flour, and apply a stout 
coat of this, and after two days wash it off. 

Stains from paint or oil remove with a paste made 
from 2 parts whiting, I part soft soap, and I part pot- 
ash, with boiling water to form the paste. Apply 
heavy coats of this, and after a few hours remove 
same and clean bricks with soap and water, then wash 
off with clear water. 

To remove white paint, make a solution of equal 
parts of sal soda and fresh lime, viz. : Dissolve soda 
in as little water as possible, then add lime and allow it 
to slake. The mass should be like soft butter, and if 
too thick, then thin it with water. After it has soft- 
ened the paint wash off with hot water. 

To prevent the burning out of the color of the paint 
by alkali in bricks or cement surface on brick wall, ap- 
ply a size of 20 per cent, dilution of muriatic acid. 
Wash off with clear water, and let the bricks or cement 
become perfectly dry before paint is applied. 



PAINTING CEMENT AND CONCRETE 

Painting on Cement Work. — The difficulty of 
painting cement or stucco surfaces, or any surface 
containing free lime, arises from the action of the lime 
or alkali upon the oil of the paint. Remove the alkali 
and we have a surface much like an ordinary plaster 
wall. One of the earliest methods of overcoming this 
alkali was to neutralize it with an acid, diluted 
muriatic acid of about 8 per cent, strength, when 
mixed with water. The surface was thoroughly 
coated with this, after which all dirt, grease, or what 
not, was removed, and the work of the acid water 
helped in its action thereby. But, unfortunately, if 
the cement contains much lime, and this is commonly 
the case, the muriatic acid tends to neutralize the lime 
and convert into calcium chloride. This would prove 
most injurious to the cement surface ; it would crumble 
and pit the surface; paint applied then to such a sur- 
face would have a very unstable foundation. Such a 
surface means disintegration of surface and paint. 

When an acid, whether muriatic or sulphuric, is used 
as a wash on the cement surface an excess of acid is 
supposed to be washed off before the paint is applied. 
Yet in spite of this, the acid usually does injury to 
the surface. 

There is another method of treatment, wherein zinc 
sulphate in water forms the wash, and it gives better 
results than an acid, besides being much less costly. 
Taking equal parts by weight of water and zinc sul- 
phate and mixing until the zinc sulphate is dissolved, 

77 



78 THE EXPERT HOUSE PAINTER 

it is applied with a stiff brush. It forms a fine coating 
that at the end of two or three days dries hard and 
firm. The caustic lime is changed to calcium or 
gypsum, while zinc oxide is deposited in the pores of 
the cement. Then when paint is applied it becomes 
incorporated with it, giving a lasting surface. 

Still another process for neutralizing the lime and 
giving a safe painting surface on cement work, etc., 
consists in the application of a solution of 10 lbs. of 
carbonate of ammonia in 45 gallons of water. In- 
soluble calcium carbonate is formed on the surface, a 
large amount of ammonia being liberated. This is 
said to leave a perfect surface for paint. Where 
mortar used in stucco work contains lime it is better 
to apply two coats of this wash, made weaker, rather 
than one strong solution. In both processes given 
above, the surface is said to be uninjured by the treat- 
ment. 

Linseed oil paints do well on a cement surface that 
has stood exposed to the weather for a year or so, 
for in that time the rain will usually have washed out 
the alkali. But it is not easy to determine just when 
this has actually occurred ; there is always danger that 
the lime is there in some amount. Then, even after 
the surface has been treated with the chemicals we 
have mentioned, there is a possibility of the free lime 
from the inside of the surface working through. 

How to Paint Concrete. — The following formula 
is given as being correct for painting cement. 

The Priming Coat. — 100 lbs. pure white lead, 4 
gals, pure kettle boiled linseed oil (or in place thereof 
9 gals, raw linseed oil and three half-pints of turpen- 
tine driers) and one gallon of turpentine. 

The Body Coat. — 100 lbs. pure white lead, 4 gals, 
pure linseed oil (1/3 boiled oil and 2/3 raw) or 4 gals, 
pure raw linseed oil and one pint of turpentine drier. 



PAINTING CEMENT AND CONCRETE 79 

The Finishing Coat. — ioo lbs. pure white lead, 
3^2 gals, pure linseed oil (1/3 boiled oil and 2/3 raw), 
or 3^ gals, pure raw linseed oil and one pint of tur- 
pentine drier), and one pint of pure gum turpentine. 

Observe that the ingredients named are all of the 
best grade. Zinc white is too hard a pigment for the 
purpose. Some experts prefer red lead paint for the 
first coat, after this formula : 85 lbs. pure dry red lead, 
1 gal. pure kettle boiled linseed oil, and 1 quart tur- 
pentine. Red lead will make a more impervious coat- 
ing than white lead will, and it is also quite elastic, an 
important feature, but the objection to it consists in 
the possibility of its affecting light colors placed above 
it. The danger would be lessened, if not removed, by 
the use of a heavy bodied paint over it, followed by a 
good finishing coat. But even then there is danger 
of the red affecting the finish. 

Pigments Safe with Cement. — For buff, yellow 
ocher; for light yellow, zinc yellow (zinc chromate) ; 
for red, red ocher or red oxide of iron; for blue, 
ultramarine blue (the sulphate ultramarine prefer- 
ably) ; for green, ultramarine green or oxide of chro- 
mium green; for white, zinc oxide or zinc sulphide 
(lithopone) ; for black, mineral black, black oxide of 
manganese, black oxide of iron; for gray, graphite 
and lithopone, or lithopone and mineral black. 

Waterproof Concrete Paints. — The committee 
on treatment of concrete surfaces of the National As- 
sociation of Cement Users, has investigated a num- 
ber of the so-called waterproof concrete paints and 
finds that they are much more efficient than colorless 
solutions. 

These paints have been divided into two classes: 
First, those which give white, or light tints, or other 
colors pleasing to the eye and of a decorative nature; 
and, second, those which employ compounds of tar 



80 THE EXPERT HOUSE PAINTER 

and asphalt which are necessarily black, or nearly so, 
and are, therefore, seldom used on exposed surfaces. 

The presence of a finely-divided pigment serves to 
seal up the small pores in the surface of the concrete, 
leaving less work to be done by the vehicle. 

In most cases the proportion of pigment used is 
small, and by using a cement color but little change in 
the surface appearance of the concrete need be made, 
unless desired, while on the other hand, almost any 
shade of color may be obtained. In this way the 
waterproof coating is made more serviceable and at 
the same time ornamental. 

All these treatments are applied with a brush in the 
same manner as paint and are probably as durable on 
concrete as paint is on wood. 



PAINTING AND STAINING SHINGLES 

Concerning Creosote. — The creosote oil of com- 
merce is known as "dead oil of coal tar." It consists 
of all oils known as the heavy oils, being residual oil, 
creosote, and pitch in solution. This creosote is 
what they use in preserving railroad ties, etc. In its 
crude shape it is not fit for staining wood, though 
some shingle stain makers simply thin it down with 
benzine or similar thinners. Such liquids injure the 
creosote for stain purposes, destroying its preserva- 
tive qualities, and for this reason the benzine or other 
similar light oils must be regarded as dopes. On the 
other hand, the creosote will kill almost any color used 
with it unless it is reduced with considerable colorless 
thinners. It is so strong in its natural state that for 
almost any purpose it must be reduced or modified. 
If it has been thinned with benzine to the extent that 
this liquid may be detected by the odor then you may 
be sure that its preservative merits are gone. 

There is a creosote derived from wood which is 
largely used in the manufacture of shingle stains and 
sold as creosote oil. It is a very light gravity oil of 
strong color and odor. This dark color is often im- 
parted to the creosote by adding black japan to it, and 
if you can smell this japan reject the stain as a doped 
variety. Any adulteration that produces evaporation 
destroys the preservative value of the creosote. 

The creosote shingle stain should be transparent in 
color, it should contain no water, it should contain 
no poisonous matter, and there is no need for using 
any poisonous pigment in its preparation as a shingle 
stain. Next to the preservative quality comes the 

81 



82 THE EXPERT HOUSE PAINTER 

matter of color. The two qualities combined produce 
a satisfying shingle stain. The siennas, the umbers 
and oxides, extremely finely ground, are especially 
adapted to the coloring of creosote stains. But the 
greens and the reds require special attention. The 
only greens of any use are the strictly pure chemical 
pigments. They are ground with an asbestos float of 
light gravity, which prevents the pigment from sink- 
ing. The colors are ground fine enough to float well 
throughout the mix, insuring good color-cover power, 
rendering stirring practically unnecessary. The reds, 
apart from the oxide red, are subject to the same 
treatment as the greens. They should be chemically 
pure pigments or mineral color, and not aniline, as 
aniline colors will fade in the sun. 

Pigments used for shingle staining should not only 
be pure and of the best grade, but they must be trans- 
parent also. Such pigments as umber, sienna, chrome 
green, chrome yellow, Prussian blue, and drop black 
are useful pigments; they may be used alone or in 
combinations, according to the color desired. Zinc 
white is useful where a white is desired, as it is non- 
poisonous. If poisonous colors are to be barred, then 
we must drop out chrome green, chrome yellow, and 
lead pigment. This will not be necessary excepting 
where the water from the roof is to be used for cer- 
tain household purposes. It should also be said that 
as creosote contains more or less sulphur compounds 
in solution, by coming in contact with pigments that 
contain metallic bases, they will change the color to 
darker or muddy shades. The dark creosotes may be 
used for the dark colors, while the refined creosote oils 
may be used with the light colors, such as yellow, gray, 
etc. The light refined oil has been cleansed from 
nearly all its sulphur compounds, giving an oil that is 
almost inert to all pigments. 



PAINTING AND STAINING SHINGLES 83 

Creosote stain will become more or less thick in 
cold weather, due to the naphthaline always found in 
it; in this condition, if wanted for use, heat it slightly; 
keep it in a place having a temperature above 40 
degrees Fahr. 

Before dipping shingles in creosote stain, or when 
brushing it on, first rub some linseed oil on the hands, 
wrists and face, to prevent the action of the stain, 
which produces a burning sensation when it comes in 
contact with the flesh. If this precaution has not been 
taken, and should some of the creosote have splashed 
on your flesh, do not try to rub it off with a cloth, 
which would only spread it, but rub with linseed oil, 
then wipe it dry. Nor try washing the creosote off, 
as that would simply increase the discomfort by wash- 
ing out the tar acids, of which true creosote contains 
about ten per cent. 

Cheap Creosote Stain. — The doped creosote stain 
is not advised, though it is often used. To cheapen 
the creosote add three gallons of water- white 150 de- 
gree test petroleum oil and one gallon of japan drier 
to three gallons of the creosote oil. Crude oil, kero- 
sene, benzine, and other mineral oils do not unite with 
creosote, although such liquids are often used in dop- 
ing creosote oil. 

How to Stain Shingles. — To secure the best re- 
sults in shingle staining use the true creosote stains, 
see that the shingles are perfectly dry, and if it should 
be necessary to thin out the stain use raw linseed oil 
for exterior stains, and turpentine for interior stain- 
ing. But such thinning is very seldom required, as the 
stain is made sufficiently thin for use, and unless long 
exposed to the air will not evaporate. If the shingles 
are in bundles when you arrive to do the staining, 
open them out and give them time for drying before 
staining. 



84 THE EXPERT HOUSE PAINTER 

If the stain is too thin it will fade out and have a 
washed-out appearance. The stain that will dry hard 
over metal may well be suspected of being doped with 
kerosene oil. The painter is apt to thin up with this. 
The pure creosote shingle stain contains more raw lin- 
seed oil than paint does, hence it needs plenty of air 
to make it dry right ; this will apply particularly to in- 
side staining. 

Interior creosote stains should have at least 24 
hours for drying before varnishing. These stains 
are not so permanent as the exterior stains, because 
they are mixed with turpentine very largely, yet they 
are by no means fugitive; it is claimed for them that 
they will stand direct sunlight for as many as six 
years. 

Dipping Shingles. — This is the best way ; dip them 
about two-thirds their length in the stain, and this in- 
sures stain on all visible parts after being put on the 
roof. Then a brush-coat after they are laid will make 
a very fine and lasting job. Open the barrel of stain 
by removing the head, then tack a narrow strip of 
wood across the top, near the edge where you are to 
stand; dip in the shingle and draw it across the strip 
to remove surplus stain ; then throw it aside, where the 
shingles will form a loose pile, admitting free passage 
of the air. Stir the stain in the barrel often. 

As creosote is a good wood-preservative, this dip- 
ping of the shingles insures perfect coating of the 
wood as far as it goes, and this means all parts that 
can possibly become exposed to the weather; it also 
greatly assists in keeping the shingles from warping, 
the shingles being properly nailed down by the car- 
penters. The advantage of a brush-coat, or staining 
after laying, in addition to the dipping, consists in the 
fact that any raw parts of the shingle made by cutting 
around corners, etc., will be coated with the stain. 



PAINTING AND STAINING SHINGLES 85 

Artistic Staining. — When it is desired to have 
more than one color on a roof, use as few as possible, 
as this gives a more pleasing effect than where several 
colors are used, and, if possible, do the entire job in 
one color. The greenish shades, such as the olives, 
please the general public taste better than the other 
shades, probably because they harmonize more per- 
fectly with nature. Avoid a reddish-brown or a pro- 
nounced yellow, or even a strong yellowish-brown with 
a green roof. In fact, a greenish roof should be 
combined with a cool gray, and it cannot be effected by 
using Prussian blue. A beautiful effect may be gained 
by taking a pail of quite thin red and one of quite thin 
green, and with one brush put on the colors alternately, 
so as to give the varnishing effect of green and red, 
as seen upon autumn leaves. With this for the sides, 
a green roof may be used, the effect of the sides, at 
a distance, being grayish, and not red and green. 

When a roof is to be painted or colored in any way, 
its use and location should be considered. A low roof, 
or roof of a low building, should be of a lighter color 
than that of a high and more imposing building. 
Light colors make a cooler roof, but they are more 
objectionable to the eye than darker colors, especially 
where sure to meet the eye frequently. The surround- 
ings of a building are to be taken into consideration 
also. A rural dwelling that is surrounded by trees or 
shrubbery should have bright colors, such as red and 
ocher, which look very charming when viewed through 
the dark green leafage. The roof is a very salient part 
of a building's architectural features, and should re- 
ceive artistic and skillful treatment. A badly painted 
roof may spoil the entire appearance of the best painted 
house. 

One gallon of creosote stain will cover ioo square 
feet of shingles, two coats. When dipped, 2^4 to 3 



86 THE EXPERT HOUSE PAINTER 

gallons will cover 1,000 of the regulation 4X 16-inch 
shingles. A lighter colored stain than the shade really 
desired should be applied to old shingles and, in order 
to obtain the best results, two or even three coats 
should be applied. 

Painting Shingle Roofs. — Let it be of a good 
mineral pigment mixed with pure linseed oil only, with 
a little japan driers. Mix it quite thin — a mere prim- 
ing coat — and the damming of the cracks will be 
greatly lessened, if not entirely avoided. It is best to 
use pigments that are ground in oil, for the dry pig- 
ment is too coarse for this purpose. Nor should a 
ready mixed paint be used, for it will likely be un- 
fitted for this particular purpose. After mixing the 
paint, strain it through a fine sieve, which will remove 
any foreign particles and make the mass more perfectly 
incorporated. To mix it, add a little oil to the pigment 
at first, and work it into a smooth paste, gradually 
adding more oil until the mass is quite soft, and then 
it may be further thinned for application. The use 
of driers should be carefully done, as excess of this 
liquid will tend to injure the paint, so that it will not 
wear as well. Paint on shingles is in a position to 
suffer a great deal more from the weather and sun 
than when used on the sides of houses. Therefore, 
see that it is of the best quality and carefully mixed. 
Many times it will not require any driers, as in sum- 
mer, in dry weather. 

Shingles may be dipped in paint just as with shingle 
stain, by making the paint very thin, and adding some 
benzine to the mixture, which will thin out the paint 
and make it more penetrative, while not affecting the 
paint, as it evaporates and leaves the oil as it was. 
Place the thin paint in a tub or half barrel, and tack a 
strip across, and as you dip the shingle draw it against 
the strip, which will remove the excess of paint. 



PAINTING WITH RED LEAD PAINT 

We painters usually regard red lead as a pigment 
to be avoided in painting, and find very little use for 
it. It is difficult to handle, and many painters do not 
know how to. Made from the metal lead, from 
whence comes white lead, why is it so different ? Red 
lead is pure metallic lead plus oxygen. White lead 
is pure metallic lead plus carbonic acid gas. Take 
either red or white lead and apply sufficient heat to 
them and they return to the pure metallic lead form, 
plus some ash. When the lead metal is heated in a 
furnace and air is allowed to pass freely over its 
molten mass it oxidizes, forming litharge. Further 
heating produces red lead or orange mineral, the two 
similar yet distinct; orange mineral is very similar to 
red lead but does not take the place of red lead in 
painting. 

There are several kinds of red lead on the market, 
nearly all of them pure lead pigments, but their value 
as painting pigments varies greatly within wide limits. 
Chemically, red lead is a mixture of litharge and red 
lead. It is the litharge that causes the red lead to set 
so hard in the paint pot after mixing with oil and 
allowed to stand some hours. Broadly speaking, the 
more litharge a red lead contains the heavier it is, the 
less covering power it has, pound for pound, and the 
more it tends to settle after being mixed. Govern- 
ment specifications call for a red lead containing at 
least 94 per cent, red lead, and this is true also of 
many of the railroads. This insures the maximum 

87 



88 THE EXPERT HOUSE PAINTER 

bulkiness and fineness. They also specify that the 
red lead must be mixed on the spot, when wanted for 
use, in pure, raw, well settled linseed oil, and without 
driers. Such a paint will dry by oxidation on the 
surface to which it is applied, in a cement-like film, 
that admits of no pores through which moisture may 
infiltrate. First they see that the surface to which the 
paint is to be applied is made perfectly free from 
scale, and clean. 

A ready-mixed red lead paint cannot be a pure 
paint, for the reason that it would become too hard in 
the container to be useful. Hence such paint is 
mixed with such substances as China clay, silica, or 
similar inert materials, which tend to prevent hard* 
ening. Whiting and barytes also are used in this way, 
but such compounds have no more value than iron 
oxide paint, which merely affords a loose, porous 
film, quite unlike a red lead paint film. Some of the 
ready-mixed red leads contain soap, paraffin, wax, 
asbestine or graphite, which keeps the red lead in 
suspension. The only way to do in order to have 
a perfect coating is to mix the dry red lead and oil 
on the operation, day by day. 

Excepting in special cases, and which are given 
in this connection, no driers should be added to red 
lead paint, for it will dry easily with raw linseed oil. 
Driers decompose the oil. 

A peculiarity of red lead paint is that it will as- 
sist in drying the paint coating over it. If you prime 
or first-coat with red lead and place a white lead coat 
above it, the latter will be assisted in drying by the 
influence of the red lead beneath it. Hence very lit- 
tle, if any, driers need be added to the latter coating. 

After drying, red lead paint remains elastic, a very 
important feature, particularly as regards metal, for 
it allows of expansion and contraction without al- 



PAINTING WITH RED LEAD PAINT 89 

lowing the paint to crack in any degree. It also 
hardens without shriveling, even where applied in 
heavy coats, and forms the toughest and most per- 
fect insoluble combination of all forms of protective 
paints. It imparts no oxygen to iron, even when ex- 
posed constantly to dampness. 

Red lead should be very finely ground, for then it 
has less tendency to settle in the pot. Some red leads 
are coarse and crystalline, and so unfitted for paint. 
Examine under a microscope and compare with a 
standard good grade. If the red lead is pure and 
very fine, it is just as good when mixed dry with oil 
as it could possibly be with grinding in oil. Mix only 
what is required for immediate or daily use. 

It is advised by some to mix up red lead for next 
day's use by adding about three-quarters of the oil 
necessary to its proper mixing, forming a stiff paste, 
which will give a more perfect admixture of pigment 
and oil. Next morning, when ready to use it, add 
the balance of the oil to form a suitable paint, stirring 
in the oil thoroughly and keeping the mix well stirred 
in the pot while using. Clean out the paint pot at 
quitting time, allowing none of the paint to remain, 
as it would become like cement in the pot if left there. 
If not kept continually stirred while in use the oil 
will, by settling to the top, be used up first, and the 
work will show less and less of the lead until the oil 
is used up. Mix thin, and brush it out well; allow 
one coat to become perfectly dry before applying the 
next coat. 

A satisfactory thinning of red lead paint may be 
had by mixing at the rate of 33 pounds of the lead 
to one gallon of raw oil and one quart of turpentine, 
and if not thin enough add a little more oil. As a 
rule turpentine should not be used with red lead, 
but is sometimes used when the weather is damp or 



90 THE EXPERT HOUSE PAINTER 

very cold, as it then facilitates the spreading of the 
paint. 

While plenty of oil is advised in mixing red lead, 
the rule has some exceptions. If we can get heavy 
red lead paint on, rubbing it out well and having the 
least amount of oil in it, it will be more wear-resist- 
ing than a very oily red lead paint. But painters 
object to the difficulty of spreading heavy red lead 
paint, and for this reason they will thin it out too 
much. This causes the paint to sag or run. Dried, 
uncombined linseed oil, whether raw or boiled, is an 
absorbent of water, and hence the more red lead and 
the less oil the better it will protect metal. Raw oil 
may be used in summer, and boiled oil in winter. 

The use of dry red lead is one of the very few ex- 
ceptions to the rule that a dry pigment mixed with 
boiled oil should never be used as a primer. 

It is held by some that red lead paint mixed with 
raw oil will not harden without the assistance of some 
driers, and when applied to iron will not prevent 
rusting. This is true where the oil contains some 
non-drying or non-saponifying oils, as adulterants, or 
if the red lead is adulterated with iron ore or red 
stained barytes (neutral), since these pigments can- 
not assist in the drying of the oil. But it is well 
known that no paint hardened by driers can be water- 
proof. The drier, being a liquid, unites with the oil 
acids before the slower acting dry basic pigment can 
combine with it, leaving behind the neutral fats of 
the linseed oil, which have little or no chemical af- 
finity for basic pigments, and the paint remains a con- 
veyor of water, and so the iron is attacked and de- 
stroyed by rust. 

It is generally the custom to use boiled oil with 
red lead for painting iron structural work, but this 
is a mistake, for the reason that boiled oil being neu- 



PAINTING WITH RED LEAD PAINT 91 

tral does not saponify sufficiently to prevent free 
red lead and uncombined oil in the paint, and the 
result of this is that the free oil must oxidize by ab- 
sorption from the air ; this oxidized oil finally becomes 
brittle and perishes. Paint thus prepared is not water- 
proof, and hence cannot protect the iron. 

Red lead is especially valuable for painting wrought 
iron. Cast iron is rough and will hold any sort of 
paint, but the wrought iron is smooth and needs a 
tough, elastic paint which will hold of itself, no mat- 
ter what the condition of things beneath it. This, 
red lead paint does; but care must be taken not to 
make the coating too thick or heavy, especially when 
boiled oil is used, as this would cause wrinkling, be- 
sides making a surface that would likely crack super- 
incumbent coats of paint. 

Preventing Settling. — There are ways to pre- 
vent the settling of red lead in the pot, and while the 
materials employed for this purpose injure the protec- 
tive qualities of the paint more or less, yet in some 
cases it will not be found very objectionable. Thus, 
by mixing the dry red lead to a pulp with water, then 
adding the oil, stirring it in vigorously to incorporate 
it with the water and lead, the lead will hang in the 
oil for hours without settling. The water will then 
dry out after the paint has been applied, and possibly 
leaving the lead and oil more intimately mixed than 
it would have been without the water. 

Another way is to add whiting, which will also pre- 
vent sagging. Sagging is a fault of red lead that is 
too heavy, and on a very close or hard surface. The 
whiting does not seem to affect the wearing of the 
paint appreciably, but of course too much of it must 
not be used. It does not alter the color of the paint 
unless used in excess. You may add as much as one- 
half or even three-fourths whiting. It makes the 



92 THE EXPERT HOUSE PAINTER 

paint work easier, holds it in suspension, prevents sag- 
ging, and some say it adds to the elasticity of the 
coating, though this may well be doubted. Such a 
paint will adhere to metal well, and its color may be 
modified with lampblack. 

The addition of lampblack seems to improve red 
lead paint, not only in giving it a more agreeable 
color, but by making it more elastic and durable, and 
some think it keeps the lead in suspension to some 
extent. The addition of one-sixteenth of an ounce 
of lampblack to the pound of red lead will give a 
pleasing chocolate brown. It is not advised to add 
more lampblack than this if the best results are de- 
sired with the paint. And when lampblack is used 
with red lead there should be a larger proportion of 
oil than when the red lead is mixed alone in oil, as 
lampblack takes up more oil than red lead does. 

The iron surface that is to be painted should be 
made clean by scraping and dusting off, and the first 
coat may be mixed from dry red lead and raw oil 
three-fourths, and turpentine one-fourth, or turpen- 
tine may be omitted and oil increased to that amount. 
The second coat may contain some turpentine, but 
the third and last coat should consist only of raw lin- 
seed oil. A job done in this way will retain a bright 
surface for a long time. 

To ascertain the cost of a red lead paint made ac- 
cording to the formula I have given, estimate the 33 
pounds of red lead, dry, as seven-sixteenths of a gal- 
lon increase over the amount of liquid used in thin- 
ning the red lead. One gallon of this paint will cover 
approximately 800 square feet of plain painting on 
average metal surface. 

The following will show the results obtained when 
different proportions of lampblack are usedj 



PAINTING WITH RED LEAD PAINT 93 

20 lbs. red lead f 1. gallon of paint and covers 
Sy 2 lbs. raw oil < 1200 sq. ft. ratio, 1/16 oz. 

1J4 oz. lampblack t lampblack to lb. red lead. 

14 lbs. red lead f 1. gallon of paint and covers 

6 lbs. raw oil < 1200 sq. ft. ratio, % oz. 

7 oz. lampblack L lampblack to lb. red lead. 

10 lbs. red lead f 1. gallon of paint and covers 
6% lbs. raw oil < 1620 sq. ft. ratio, 1 oz. 

10 oz. lampblack I. lampblack to lb. red lead. 

In blendings of lampblack and red lead the use of 
boiled or raw oil with japan is desirable. Says the 
president of one of the best-known lead oxidizing 
companies : 

"Red lead and lampblack dry very slowly in raw 
oil, less slowly than when japan is introduced, and 
in boiled oil dry more quickly, the drying property 
varying with the quantity of lampblack used — the 
more lampblack the more slowly the paint dries. So 
in a mixture of red lead, lampblack, raw oil and japan 
or boiled oil the amount of japan necessary will vary 
with the amount of lampblack used. We wish to say, 
however, that japan or boiled oil are employed not so 
much for their drying properties as they are for the 
purpose of a binder to prevent the red lead, lamp- 
black and oil separating from each other, which is 
occasioned on account of the red lead being so much 
heavier." 

In about the proportions of the preceding tables, 
"mixtures of red lead, lampblack and raw oil dry in 
from 1 6 to 24 hours, the mixture containing the most 
lampblack being the longest in drying. Red lead, raw 
oil, lampblack and boiled oil, about 12 hours." These 
results will vary with the weather, etc. 

Red Lead Paint Formulas. — To 100 lbs. dry red 
lead add four to five gallons of raw linseed oil, one 



94 THE EXPERT HOUSE PAINTER 

quart of turpentine japan, and one quart of good 
varnish. 

To ioo lbs. of dry red lead add four gallons of raw 
linseed oil, one quart of turpentine, and one-half pint 
of japan for slow drying, or one pint for quick work. 
This formula was used in a ship yard. 

To ioo lbs. of dry red lead add four gallons of raw 
linseed oil, for summer, and boiled oil for winter, one 
gallon of turpentine and one-half gallon of japan, a 
formula used by a large railroad company. 

One railroad company adds lampblack to the red 
lead at the rate of ten ounces to 12 lbs. red lead; this 
is thinned with raw oil to make one gallon of paint. 

A certain firm give this as their formula : Mixing 
the paint as given in the first formula, for the first 
coat they use 11 lbs. of red lead to the quart of oil; 
this is allowed to stand a while, when it is thinned with 
a mixture of one pint of raw oil and one-quarter pint 
of japan. This makes a half gallon of mixed paint. 
For the second coat take 10 lbs. of red lead, three 
ounces of lampblack, and one quart of oil; thin with 
one pint of oil and a quarter-pint of japan. 

Red lead paint may be made by thinning 25 lbs. of 
dry red lead with one gallon of raw linseed oil, mixing 
thoroughly and then straining it. Add a gill of good 
drying japan. This will make a gallon and a half 
of paint; ordinarily it will cover 700 square feet of 
iron surface, one coat. 

A certain railroad company uses 21 lbs. of red lead 
to the gallon of oil. A New York bridge concern 
specifies the ratio of 3^ of red lead to one of oil by 
weight. A large railroad city station was painted, the 
ironwork, with a paint that was made with red lead 
20 lbs. to the gallon of oil. 



PAINTING TIN AND OTHER METAL ROOFS 

The New Tin Roof. — New tin roofing is coated 
more or less with palm oil, which is a non-drying oil. 
Remove this oil before applying paint. This may be 
done with benzine and cotton waste, or with sal soda 
water. The former is best but costliest; the latter is 
cheapest and is efficient, its only fault being that it 
leaves the tin wet, and this soon evaporates. Still, 
a cheaper way is to let the roof be for a few weeks, 
or until rain and shine have acted upon it. But all 
the oil may not disappear in this way, and then rust 
may develop, and the rust will have to be removed 
or it will continue under the paint. Then there will 
be traces of the rosin that the tinner used in laying 
the roof; this must be scraped off and the roof be 
swept clean with a broom. 

The way to make and apply the sal soda solution is 
to take about one pound of soda and dissolve, it in a 
half-bucket of hot water. 

Do not apply paint to the roof until it is clean and 
dry; select a fair day for it, when the weather is 
moderate, neither hot nor cold. The fall is. in many 
sections, the ideal time of year. While some advise 
allowing a new tin roof to stand to the weather for 
some time before painting it, even to the extent of 
allowing some rusting, yet it cannot be advised here 
as good practice. Soon as the roof is fitted for it 
apply the paint. One coat only, and that light ; never 
heavy paint on tin roofs. In another year a second 
coat may be found desirable. Some experts apply two 
coats on the new tin, and a third a year later. The 

95 



96 THE EXPERT HOUSE PAINTER 

under side of the tin is painted by the tinner, and while 
there is no doubt that good paint should be used there, 
as a matter of fact it never is. The best pigments for 
tin roofing are the iron oxides, such as metallic brown 
and Venetian red. Mix with pure raw linseed oil 
only, with a very little driers, unless in warm, dry 
weather, when no driers will be needed; they would 
injure the paint. No paint containing tar, pitch or 
bituminous compounds, nor graphite, should be used. 
Lead and zinc paints are also taboo. Red lead is 
used by some painters for the first coating, after which 
an iron oxide paint is applied. The red lead is to be 
mixed with raw oil only, and no driers. But there 
does not appear to be any decided advantage gained 
by the use of the red lead. 

Use ordinary paint brushes for painting tin roofs, 
and not the long-handled brush. Rub the paint into 
all exposed parts of the tin, and do not rub out too 
thin; let it have a fair coating. Avoid runs of paint 
along the seams and edges. 

A gallon of average oxide roofing paint will cover 
about 500 square feet of surface, the paint not to 
be mixed thick. About equal parts by weight of oil 
and pigment should be used ; that will be about jy 2 lbs. 
of dry pigment and one gallon of oil. Or if paste 
pigment is used, then mix 25 lbs. of the pigment with 
2.y 2 gallons of oil. 

The Old Tin Roof. — Before repainting the tin 
should be scraped and made clean. The paint may be 
rather thinner than for a new roof, because of the old 
paint on it. Rub it in well, and lay it off smooth and 
level. Use the same kind of paint as directed for new 
tin roofing. 

Old Gutters, Rain Spouts, Etc. — While it may 
be necessary to use fresh paint on such work, yet it 
is often feasible to utilize old paint skins, etc., in such 



PAINTING TIN AND OTHER METAL ROOFS 97 

work. If you have a lot of odds and ends of paints 
and colors you can place them in an iron pot and add 
some linseed oil and boil all together until the mass 
becomes like thick paint. Thin up if necessary, then 
strain and add sand until you have a workable paint. 
Apply hot, or at least warm. Give it a heavy coating. 
It may be used around flashings, chimneys, on old 
gutters, etc. 

The inside of a rain spout is seldom or never 
painted, yet it is just as subject to rusting as the out- 
side surface. Pipes may be painted on the inside be- 
fore they are put up by pouring some paint into them 
and turning them around until the paint has reached 
all parts of the surface. If the pipe is up, then the in- 
side may be done with a swab of rag waste or sponge, 
filled with paint and drawn up and down by a string 
tied to it, one string to draw it up with and another 
to pull it down; it will of course require two men to 
do the trick. 

Painting Copper Roofing. — The only copper roof 
that the painter will likely be called upon to paint will 
be some dome, where it is desired to cover it with gold 
leaf. A full description of this work is given in the 
"Expert Sign Painter," which see. Briefly it may be 
said that in order to paint copper the surface must 
first be treated with a solution of bluestone and a little 
nitric acid, which will slightly roughen the surface 
and give tooth for holding the paint. Some use a 
mixture of one part acetone and two parts benzol, 
which is in fact a sort of paint remover. Let it dry, 
then apply the paint. A painter says it will hold. 

Painting Zinc Roofing. — Zinc and galvanized 
iron roofing are the same as regards treatment neces- 
sary to prepare it for painting. The greasy surface, 
as we call it, meaning the peculiar nature of the zinc 
or galvanizing, may be cut with the following mixture : 



98 THE EXPERT HOUSE PAINTER 

To a gallon of water add two ounces each of copper 
chloride, copper nitrate, and sal ammoniac; pulverize 
and stir into the water. Then add two ounces of 
muriatic acid, and stir until the chemicals are all dis- 
solved. Apply this wash with a whitewash brush, and 
let it dry. The color at first will be black, but it soon 
changes to gray. Mix the chemicals in an earthen 
vessel. See further concerning this subject under an- 
other head. 

Colors for Galvanized Iron Roofs. — Though 
white roofs are objectionable in appearance, they 
are cool. Green and red may be more pleasing; they 
cannot be as cool as white. It is a question whether 
comfort is to be sacrificed for appearance. Refrig- 
erating paints are sometimes supplied in tints of 
green and terra cotta, which are claimed to possess 
all the merits of white refrigerating paint. In some 
parts graphite paint is used for galvanized iron 
roofs ; in other localities red lead is used. Both 
are considered good rust-resisters. The chief aim, 
however, of good roof paints, is to lessen the tem- 
perature. It is questionable whether any dark color 
is as successful for this purpose as white. It is gen- 
erally known that white reflects both light and heat, 
while dark colors absorb these, which explains why 
white is more effective as a cooling medium than 
dark colors. 

On galvanized iron the best adhering paints were 
found to be red lead, burnt umber and sienna, Indian 
red, Prussian blue, lampblack and graphite, while 
the poorest adhesives were zinc oxide, lithopone, clay, 
silica, etc. 



PAINTING AND BRONZING RADIATORS 

Steam and hot water radiators require to be 
lacquered with varnishes of special quality, owing to 
the high temperature to which they are exposed, this 
being near the boiling point of water. Oil paints are 
unsuitable, being liable to blister, whilst colors turn 
brown and peel off. The best lacquer is a good 
asphalt varnish, which, when baked, will keep its gloss 
and last a long time; but black is not a favorite for 
this purpose. The same material can, however, be 
used in the preparation of red-brown, dark brown, and 
gray shades, by adding Venetian red and lithopone 
respectively to the asphalt varnish. 

To obtain a durable coating of all paint topped with 
varnish, the former must be well thinned with turpen- 
tine, so that it dries matte, another coating then be- 
ing given and varnished with special varnish. Some 
commercial varnishes sold for this purpose soften 
under the influence of heat, and in a very short time 
become brittle and rub off under the finger. The var- 
nishes should be made of copal, inferior grades be- 
ing prepared from hardened resin or colophony, and 
should be thinned in order that they may harden 
quickly and not turn brown. Thicker varnish can 
only be used when a baking oven is employed, the 
coating then being very durable, and of good ap- 
pearance. 

Black Radiator Varnish. — (i) Prime Syrian 
asphaltum or Gilsonite, 10 parts, are heated over a 
moderate fire with 2 parts of linseed oil until uni- 
formly fluid, and the mixture is thinned down to 

99 



100 THE EXPERT HOUSE PAINTER 

the consistency of varnish with turpentine when cool. 
(2) Asphaltum, 6 parts; Lignite asphaltum, 4 parts; 
and linseed varnish, 2 parts, are melted together, and 
thinned down, when cold, with turpentine and benzol 
or heavy benzine. 

Bronzing Steam Pipes and Radiators. — For 
gold bronze powder, paint the pipes with medium 
chrome yellow, and when this has become nearly dry 
rub on the gold bronze, using a piece of fur or a 
brush. When perfectly dry apply a coat of thin copal 
or mastic varnish. 

Oxidizing a Radiator. — Paint the radiator a dull 
yellow, and when dry lightly sandpaper smooth, then 
apply a thin coat of color, a mere glaze, and of what- 
ever color you may fancy, and rub out to simulate the 
oxidizing. 

Painting the Logs of Gas Radiators in Imita- 
tion of Wood. — These logs are usually bronzed with 
copper bronze or green bronze, and then blended in 
with colors, so as to imitate the bark of certain trees. 
To give certain effects, such as the bark of birch or 
maple shows, asbestos fiber is attached in certain spots. 

The colors used, or rather, the pigments employed, 
must be resistant to heat, as, for instance, umber, raw 
or burnt, Indian red, mineral brown, oxide of chro- 
mium green or copper green. The paint must be 
made with a medium or binder of silicate of soda, 
because there is no medium containing oil or gums 
that will be able to stand such degrees of temperature 
as are required here. 

Bronzing Solution. — Reduce a good varnish with 
turpentine to the condition of a bronzing size, be- 
ing careful not to get it too thin, coat the surface 
with this and dust aluminum bronze on; this is the 
best way. To mix the bronze with the size, to be 
painted on, use equal parts of varnish and thinners. 



PAINTING AND BRONZING RADIATORS 101 

Painting Radiator White. — It is difficult to get 
a white job that will remain white, for the paint will 
be more or less affected. It is found best to use what 
is called a white varnish, or very light copal made of 
hard gum, to withstand the heat. Make the prepara- 
tory coats white and flat, sandpaper smooth, or at 
least rub off any roughness you can, then apply the 
white enamel varnish. Use red seal French zinc 
white with turpentine for the flat coats, and then 
two coats of white copal varnish. Lithopone is said 
to do well on white radiators. 

The factory formula as given by Scott, is as fol- 
lows: 

Common zinc oxide 22 lbs. 

Barytes 10 lbs. 

Pulverized soapstone 3 lbs. 

Grind in 

Japan gold size Yz gal. 

Turpentine Y\ gal. 

Carbon tetrachloride J4 gal. 

This paint dries very flat, and is not much discol- 
ored by heat. If preferred it may be ground in the 
celluloid mixture, in which case there will be no dis- 
coloration whatever. This solution is made as fol- 
lows: 

Four ounces soluble gun-cotton, dissolved in 32 fluid 
ounces amyl acetate. Let stand ten hours, then add 
32 fluid ounces amyl acetate. Finally add the follow- 
ing solution: 1 ounce gum camphor, dissolved in 
8 fluid ounces acetone. 

This solution must be thinned with amyl acetate, 
when thinning is necessary, as benzine or turpentine 
will cause the gun-cotton to precipitate its original 
cotton. Try to get in touch with a dealer who han- 
dles such paint as radiator white. 

Oil paint will not answer for radiators. Use in- 



102 THE EXPERT HQUSE PAINTER 

stead a color ground in japan, thin with good bak- 
ing varnish, and do not make the paint too heavy or 
thick. 

Painting Radiators. — Clean all greasy spots with 
benzine. When the iron is clean take any good 
bronzing liquid and stir enough aluminum into it to 
make a paint that can be easily spread with a camel's- 
hair brush. Apply one or more coats, as the case may 
require. If you prefer to make your own bronzing 
liquid take equal parts of gold size japan and light- 
colored baking varnish and mix them well. To each 
liquid ounce of this mixture add three liquid ounces 
of turpentine. Shake well in a bottle and it is ready 
for use. If the aluminum paint doesn't give you suf- 
ficient luster, apply a coat of baking varnish to your 
radiators, and when it gets tacky dust the dry bronze 
on with a camel's-hair brush or tuft of cotton, spread- 
ing a large sheet of paper on the floor under the 
radiator to catch the surplus bronze, which can be used 
again. 



PAINTING STRUCTURAL STEEL WORK 

It formerly was the custom to give structural steel 
work a protective coat of paint before it left the shop. 
But some architects and engineers questioned the wis- 
dom of this practice, believing that better results would 
follow by sending the material out without paint. In 
the first place a certain amount of weathering removes 
the mill scale; then the shop coating was usually done 
by inexperienced labor, and what they did was so 
poorly done that it were better to let the naked metal 
take the weather. 

Where no paint has been applied at the factory the 
priming coat should be applied just before assembling. 
The surface of the work should be thoroughly cleaned 
and should be free from any rust. If the air is dry 
and warm the work will be better than when done in 
a moist air and when the air is cold or raw. A thick, 
hard, elastic film of paint should be applied. The 
paint should be well brushed out, more so indeed than 
paint on wood. The more the paint is worked under 
the brush into the iron, the better it will hold. A 
thick film of paint will be more impervious to moisture, 
and the more pigment the paint contains the greater 
its waterproofing qualities. Linseed oil alone will 
afford no protection from moisture, or at least little 
and that only temporary. It forms too thin a film, for 
one thing, and then linseed oil is not waterproof. But 
mixed with red lead the compound gives an almost 
ideal coating. Such paint is hard, yet elastic; thick 
and adhesive; the pigment fills the pores in the oil 
film. It is possible to mix as much as 33 lbs. of red 

103 



104 THE EXPERT HOUSE PAINTER 

lead with a gallon of linseed oil and get good working 
qualities and a paint containing the maximum amount 
of pigment. 

Red lead is an inhibitor of rust, a preventive, and 
combined with linseed oil it forms the hardest elastic 
paint film we know of; water will not penetrate it; in 
fact, the marine underwriters formerly demanded an 
extra premium for policies written to cover steel ships 
whose hulls were not so painted below the water line. 
All the ships of our navy are so protected, as well as 
those of foreign powers. The huge steel members of 
the locks on the Panama Canal are likewise so pro- 
tected. In fact, practically all structural steel is pro- 
tected with red lead, both that belonging to the govern- 
ment and that erected by corporations or private in- 
dividuals. Engineers and chemists agree that all steel 
structures should have at least two coats of red lead 
and linseed oil, followed by one or more finishing coats 
for decorative purposes. These coats should all be of 
a different shade so that the inspector can readily de- 
tect faulty work. No paint will protect steel unless it 
is honestly applied, and a little lampblack added to the 
red lead after the first coat will produce the necessary 
variations in the shade, as well as aid in securing a uni- 
form thickness of film, and consequently uniformity of 
expansion and construction. 

There are some rules that might well be observed 
in connection with the surface on which the protec- 
tive paint is to be applied : 

(i) The surface should be perfectly clean and 
free from moisture, greasy matter, rust and mill 
scale. No pains should be spared to insure a per- 
fectly clean, dry, metallic surface. 

(2) All minute holes, cracks, fissures between 
plates, poles and the like, should be filled with a 
suitable "filling" or "stopping" before painting is pro- 



PAINTING STRUCTURAL STEEL WORK 105 

ceeded with. The condition of "metal-to-metal" is 
particularly objectionable, as local galvanic action 
is thereby excited, and this excites corrosion. A pro- 
tective paint film to be effective must be continuous 
for the whole surface, and this result cannot be secured 
unless the said surface is made perfectly solid and 
continuous. 

But paint will not prevent iron rust. The iron 
will rust beneath it, because the oxygen of the air 
will gain access to it sooner or later, and this, of 
course, causes oxidation of the iron. It seems, in- 
deed, durable and useful as it is, that the purpose of 
iron, considered in itself, is to decay. Rust will con- 
tinue even under paint, until the entire structure has 
become a mass of rust. Treated chemically or other- 
wise when being made, a surface can, possibly, be 
made that will prevent oxidation. Indeed, there is 
a non-rusting iron, I believe, but it is not practical 
for general use. White lead, which is carbonate of 
lead, and at one stage of its manufacture an oxide, 
is one of the very worst pigments to apply to iron. 
Zinc oxide also is bad, and will eat into iron. The 
marking compound used at the iron mills is not white 
lead, but a very cheap mixture composed mainly of 
whiting or barytes and oil, driers and benzine. There 
is no lead in it, lead being too costly. As to what 
constitutes the best paint for coating iron or steel red 
lead is generally preferred to any other form of paint. 

Painting Iron Bridges for Railroads. — All the 
iron ore paints contain phosphorus and sulphur, un- 
less the ore has been burned to eliminate those prop- 
erties; and either sulphur or phosphorus is inimical 
to iron. Asphaltum paints are usually well supplied 
with benzine or some other volatile product, which 
soon evaporates after it has been spread upon the 
iron, and leaves a rough surface upon which soot 



106 THE EXPERT HOUSE PAINTER 

and sulphur from the burning coal in the locomotives 
accumulate, and with setting of fog and dew upon 
the iron, produces an acid which, by contact with the 
iron, causes oxidation on the surface of the metal, 
which causes serious injury to the structure, and very 
soon requires a thorough cleaning and repainting. 
Many of the cheaper paints are of a thick, syrupy na- 
ture, and require a large mixture of naphtha, benzine 
or turpentine to make them spread readily. These 
paints are of short duration, and require such fre- 
quent renewals that they become expensive. 

I think, on the whole, that pure linseed oil and 
lead, properly put on, and colored so as not to draw 
or absorb from the sun's rays, make the most lasting 
paint, and give the best protection to the iron. In 
my judgment, all iron in bridges should be coated 
with boiled linseed oil. In warm weather this can 
readily be put on so as to cover the inequalities of 
surface; and when two or more places are to be riv- 
eted together, each surface should receive a coat of 
paint carefully applied in the shops where the work 
is being done. Then, when the structure is erected, 
it should receive two coats of lead and oil paint of 
some light gray or stone color. And before paint- 
ing, all places where rust has taken place should 
be thoroughly cleaned before painting. Experience 
shows that bridges cared for in this manner have 
given better results and are really more economical 
in time than those painted with other than lead and oil 
paints. — G. M. Reil. 

Footnotes on Iron Painting 

Once it was thought that iron oxide paint was the 
best for ironwork ; red lead is now favored as best. 

Elasticity is necessary to the durability of paint on 
iron, and red lead and linseed oil insure this. 



PAINTING STRUCTURAL STEEL WORK 107 

Red lead requires only from three to four gallons 
of oil to bring it to a painting consistency, where dry 
iron oxide will require 15 gallons of oil. 

Some engineers think the best first and second coat- 
ing for iron or steel work is a mixture of two parts 
red lead to one part white lead. 

Old painted ironwork should have all rust and scale 
removed before repainting; it may be burned off, after 
which apply a coat of turpentine or benzine. 

Lampblack and graphite are often used with red lead 
and oil, not necessarily to improve the lasting qualities 
of the paint, but to make the paint work smoothly and 
evenly, also to improve the appearance. 

For painting on iron, to 25 lbs. of red lead, dry, add 
one gallon of oil. Stir the oil in gradually, then strain 
it. Unless a very quick job is desired, no driers will 
be required, as red lead itself is a drier. If driers are 
used, add a gill to the above formula. This will make 
a little over a gallon of paint, which should cover about 
1,000 feet of average surface. 

An expert says that years of experience have shown 
him that the best primer for new iron or steel work 
is raw linseed oil. If there is rust on the iron, the oil 
will absorb the oxygen contained in the rust and will 
convert the whole mass into paint. 

Another expert advises oil priming, but goes about 
the work differently. He first cleans the iron, then 
goes over it with a steel brush dipped in hot linseed oil, 
and when this coating has dried sticky he applies a coat 
of paint. He says that "objects thus coated will pre- 
serve the paint from heat and cold, dryness or moisture, 
for an indefinite period." 



PAINTING GALVANIZED IRON 

New galvanized iron will not take and hold ordinary 
paint unless previously treated with chemicals. Not 
knowing this fact has caused much loss and vexation. 
By allowing the metal to stand to the weather for 
some time, a year at least, it will then take paint very 
well. The zinc coating seems slippery or greasy, as 
some call it, and this feature must be removed before 
painting. The best chemical treatment is as follows : 
Take 2 oz. each of copper chloride, copper nitrate, and 
sal ammoniac. Mix with water 1 gallon in a glass or 
earthen vessel. Apply a coat of this with a broad 
bristle brush; when dry it will be black, but this will 
soon change to a grayish color. One gallon will cover 
about 25 to 30 squares of 100 feet each. It is easily 
made and inexpensive. Another way, preferred by 
some, as it is easier to prepare, consists in applying a 
coat of copper acetate wash. To one gallon of water 
add 6 oz. copper acetate. This will give to the work 
a coating of black copper oxide. Paint will adhere 
to it. The Government specifies for the purpose 
simply strong vinegar. You would do well to test 
this. The railway companies do considerable painting 
of galvanized iron, and some of their master painters 
first wash off with gasoline or benzine, to remove the 
grease, then apply a coat of coach finishing varnish. 
On top of this any desired paint is applied. Some 
add a pint of good finishing varnish to each coat of 
paint applied over the varnish first-coat. Another 
master painter says he washes off with benzine, then 

108 



PAINTING GALVANIZED IRON 109 

applies a coat of mineral paint, thin and well brushed 
out. This paint is thinned with boiled oil. He adds 
that he has never known paint to scale from galvanized 
iron when done this way. 

The master painter of a ferry boat and railroad 
company tells us that he has tried vinegar, sulphuric 
acid, ammonia, muriatic acid, and a mixture of acids 
and chemical salts, and the results given have been 
fair but not uniform; there was much peeling of the 
paint after these treatments, as without them. With 
all due care he says he never has been successful in 
preventing more or less peeling of the paint. He 
thinks that the dipping process followed in the gal- 
vanizing of objects, involving ammonia and palm oil, 
renders the surface unable to take and hold paint, no 
matter how treated before painting. How the doctors 
disagree ! Another master painter says that he did a 
job of painting on galvanized iron 25 years previously 
and that the paint was still intact; he primed it with 
French yellow ocher and followed with two coats of 
English white lead, sandpapering each coat but the last. 

A paint chemist tells me that sponging the surface 
with white wine vinegar and following with a coat of 
spar varnish thinned with turpentine is effective. On 
this apply any desired paint. The first coat of paint 
over the varnish primer should be made rather flat with 
turpentine. 

Some technical writer says that the scaling of paint 
from galvanized iron is caused by electricity, and that 
the white powder found beneath the paint is zinc oxide, 
the result of electricity. Thus various reasons are 
given for the failure of galvanized iron to take and 
hold paint. One very plausible reason is that the use 
of sal ammoniac in the galvanizing process causes the 
formation of a thin film of the basic chloride of zinc 
on the surface of the metal being galvanized, which 



110 THE EXPERT HOUSE PAINTER 

substance, being of hydroscopic nature, acts as a re- 
pellent to prevent the close adherence of the paint to 
the metal, and the pigment dries as a skin over it. 

Formerly architects specified that galvanized iron 
should have three coats of paint, the second and third 
coats to be sandpapered. This was too much paint, 
and it caused scaling. The fewer the coats the better, 
and each coat should be well rubbed out. The paint 
should be thin. Just enough paint to hide the surface 
is the rule. Of course much will depend upon the first 
coat, whether it is hard or elastic. But too much paint 
over any primer is not safe. White lead and zinc are 
not safe pigments on galvanized iron. 

Repainting Galvanized Iron. — To repaint gal- 
vanized iron, note the character of the primer first 
applied; if well bound to the surface, clean thoroughly, 
and if to be painted a similar or darker color, apply 
but one coat. This should carry sufficient turpentine 
to penetrate and bind well to the old coating. It 
should be well brushed and not heavily applied. If 
two coats are necessary, the first coat should be mixed 
half flat and the finishing coat should carry a small 
amount of turpentine. Full oil reductions should 
never be used on a galvanized iron surface, as such 
will cause blistering under extreme heat. If the sur- 
face is checked or cracked, go over it with a stiff wire 
brush and scraper, removing any loose particles of 
paint and thoroughly cleaning the surface. Touch up 
any bare spots with red lead paint. This will even 
up the surface, and it can then be finished with one 
coat of paint, which should not be mixed too elastic. 
If the paint is peeling or is not properly bound to the 
surface, scrape thoroughly and clean with a wire brush 
to the bare iron, then rough up the surface and proceed 
as for new work. 



PAINTING METAL CEILINGS 

If the stamped metal has been primed at the factory- 
it will have been done with varnish thinned with ben- 
zine, and to this a little zinc-white will be added, not 
enough to render the paint opaque, but to leave it 
rather translucent. If the metal has not been thus 
coated it will be necessary, when ready for the painter, 
to clean it well with benzine or strong sal soda water, 
to remove the grease and dirt. When clean and dry 
apply a coat of raw or boiled oil, without pigment of 
any kind. If raw oil is used, then add a little litharge 
to help it dry. Upon this primer any desired paint 
may be used. But it is advised not to use a gloss paint, 
which becomes dirty and worn-looking, just as soon 
as any dead flat paint would, and with it the light will 
not be distributed over the room as well. 

The following method is that given by an expert 
decorator : After making the metal clean make up the 
first coat with white lead, and raw oil and turpentine 
equal parts; tint this to the color you are going to 
finish with. When dry, coat over with white lead 
thinned with turpentine only. Tint it the same as the 
first coat. If this coat is stippled it will help the ap- 
pearance of the finish. Stipple as you apply the paint. 
The decorative part may be varied according to the 
price you are to receive, and to your taste. Never use 
ready-mixed paint on these ceilings, nor a gloss paint. 
A flat finish will not show any defects as a gloss finish 
will. 



HI 



MARINE PAINTING 

The protection of a ship's bottom with some pro- 
tective material has for years engaged the interest of 
scientific men, and the conclusion has been reached 
that for iron that has to be under water all the time 
nothing is as good as red lead mixed with boiled lin- 
seed oil, followed by a good varnish paint. Some 
claim that raw linseed oil is better than the boiled for 
this purpose. Andes says that tests show that salt 
water is less injurious to oil paint than fresh water. 
An oil paint that will stand the test on glass under 
water has been shown to have no protective value on 
iron under water. 

But a paint for this purpose should not only be 
capable of protecting the hull from the effects of the 
water, but should in addition prevent the accumula- 
tions of sea animals and algae. This is obtained by a 
closely adhering, smooth coating, which has mixed 
with it poisonous substances that kill the plants, mol- 
lusks, and other organic formations that attach them- 
selves to the ship's hull, and which also possesses the 
property of peeling off in a thin layer where the dead 
organisms are situated, without exposing the hull of 
the ship. There are many elaborate compositions cal- 
culated to effect this object, yet it must be acknowl- 
edged that to date there is no absolutely sure anti- foul- 
ing paint. 

Boat Painting. — An expert boat painter gives the 
following method for painting a new boat: Sand- 
paper smooth and prime with white lead thinned with 

112 



MARINE PAINTING 113 

oil, raw, three parts, and turpentine two parts, with 
one part white liquid drier, for a white job. If to be 
done in any color, then tint the priming to suit the 
color. If the exterior is to be green, then make a 
lead color primer. Allow several days to elapse be- 
fore applying the next coat — a week, if possible. 
Second coat, if white job, mix equal parts of pure lead 
and zinc white in oil, to be tinted with an oil color 
if the finish is to be in color. Thin with turpentine 
and a little drier, so that it will dry nearly flat, and 
allow several days to harden. Then sandpaper. For 
white finish thin a good grade of zinc white in oil 
with a first-class spar varnish, of fairly pale color, to 
a flowing consistency. For colored work, add to this 
before adding the varnish, the desired coloring. Do 
not flow it on, but brush out evenly and not too heavy. 
If the hull is to be green or any other solid color, 
thin the oil color for the second coat, also, so it will 
dry flat, and add spar varnish for the finishing coat. 

Painting Canvas Boat. — Mix 7 lbs. white lead 
ground in oil, and 3 lbs. whiting thinned to a stiff 
paste with boiled oil, adding an ounce of common 
yellow soap, dissolved in one-half pint of water; ap- 
ply this to the canvas in a heavy coat, and when it has 
set, but before too dry, scrape away with a knife or 
wide-bladed spatula excess paint, leaving the canvas 
well filled. Let dry, then give it another coating of 
the same paint, a little thinner, and when dry, sand- 
paper smooth and finish with any desired color of 
paint, mixed in oil. 

The method used in the British navy yards is sim- 
ilar to the above : Eight lbs. best yellow ocher ground 
in oil, boiled, and 1 lb. of lampblack, in boiled oil, 
are mixed, making a paint with a very dark green 
hue. To this add one ounce of yellow soap dissolved 
in hot water, one-half pint. Apply stiff, and allow 



114 THE EXPERT HOUSE PAINTER 

three days for drying. Then make up a similar paint, 
omitting the soap, and adding a larger proportion of 
boiled oil, which should dry free from tack in three 
days. After this any oil paint of any desired color 
may be applied. The first two coats make the can- 
vas waterproof and keep it from rotting or cracking. 
In order to get the best wearing job, avoid inferior 
materials, especially oil, turpentine, and varnish. 

The United States navy, after long experimenta- 
tion, painted a large part of its fleet with pigment 
composed of 45 per cent, zinc oxide, 45 per cent, 
blanc fixe (artificial sulphate of barium), 5 per cent, 
of lampblack, and 5 per cent, of graphite. This was 
mixed with the proper linseed oil and driers, and it 
was found to cost one-third less than the old lead and 
zinc paint which the navy formerly used, and gave 
not only a better looking paint, but one that held its 
gloss longer, and was not acted upon by salt water. 

Steel-covered boats, fresh water, painted below 
water-line with red lead and zinc white, half and half, 
always stood. 

A paint that has given excellent results when used 
on the interiors of trimming tanks of submarines is 
made of a graphite pigment and an asphaltic oil 
thinned with benzine. This paint has displayed re- 
markable protective qualities when used under the try- 
ing conditions mentioned above. Red lead, though 
used generally for the purpose mentioned, does not give 
results that are even satisfactory, due to the fact that 
linseed oil films do not exclude water, and red lead 
paint made with linseed oil will not adhere properly to 
a surface that has the slightest trace of moisture. 

Another paint that has been used extensively at the 
Brooklyn Navy Yard for uses to which red lead has 
been put, is composed of a pigment similar to Vene- 
tian red, containing iron oxide, calcium sulphate and 



MARINE PAINTING 115 

silica, and of specially high quality linseed oil, tur- 
pentine and driers. The merit of this paint appears 
to be due to the special quality of the linseed oil and 
the care used in manufacture, and, though it is some- 
what more expensive than the others mentioned, the 
paint is much cheaper than red lead, and appears to be 
more effective. 

Boiled Oil. — It is said that ship painters will never 
use boiled oil in a paint that is to be subjected to hard 
use or jarring, they claiming that such paint will break 
clear to the wood. 

Cork Varnish. — To protect the interior of a ship 
from the humidity caused by the condensation upon 
the metallic walls during sudden changes of weather 
or temperature, cork varnish is used. This is a com- 
pound of ground cork and copal varnish, with some 
litharge, and is said to be very effective. 

Refinishing a Hardwood Deck. — Clean the deck 
and remove old paint with a varnish and paint re- 
mover. After getting all cleaned down to the wood, 
apply a hot saturated solution of oxalic acid, using a 
rag swab. This will remove stains and leave a 
bleached surface. Then apply a coat of wood filler. 
When dry sandpaper, dust off, and apply a coat of 
good spar varnish. Let stand two days and then 
apply another coat of spar varnish. 

Marine Putty. — The best putty for boats below 
the water line is made as follows : In J 1 /?, lbs. of raw 
linseed oil boil for 2 hours 4 lbs. of burnt umber, then 
add and stir in 2 oz. beeswax. When the wax is dis- 
solved take from fire and allow the mass to become 
lukewarm; then stir in and mix thoroughly 11 lbs. 
whiting and 2 lbs. dry white lead. Knead the mass, 
adding more whiting if necessary to make it of putty 
consistency. Keep in water to prevent it from becom- 
ing hard. 



116 THE EXPERT HOUSE PAINTER 

Another Marine Putty. — Whiting 15 lbs., Port- 
land cement 10 lbs., sublimed white lead 10 lbs., 
litharge 5 lbs., raw linseed oil 1 gallon. 

This putty will harden under water. 

Paint for Torpedo Boats, Etc. — The color pro- 
duced will be bottle green, and the formula will give 
25 gallons of paint. White lead in oil 200 lbs., 
medium chrome yellow in oil 15 lbs., lampblack in 
oil 15 lbs., raw linseed oil 10 gals., turpentine 2 gals., 
japan drier 2 gals. 

Paint for Yachts. — For the white enameled 
yacht, top strokes and combings, prime with pure white 
lead, mixed with equal parts of boiled and raw oil, 
following with two coats of pure zinc oxide mixed in 
two parts boiled oil, three parts copal varnish, and a 
little patent driers. After the coatings have become 
quite hard apply two coats of the best coach or copal 
varnish. The best protection for iron fittings is red 
lead thinned with boiled oil, and the last coat may be 
in a less fiery color, say, iron oxide or Indian red. 

To Repaint a Boat. — Scrape off all loose paint 
but allow to remain any old paint that is in good con- 
dition, touching up bare parts. The keel will prob- 
ably need entire repainting. When all is dry sand- 
paper smooth and apply a coat of egg-shell gloss 
paint, then finish as described for new work. 

White Enamel or Gloss White. — French zinc 
white in varnish 8 lbs., damar varnish 5 pints, patent 
driers %. gill. This will make one gallon. 

Another formula: French zinc white in varnish, 
41/2 lbs., damar varnish 6^2 pints, patent driers % 
gill. This formula will give one gallon. 

White for Exterior Work. — This paint is in- 
tended for exposed parts of a ship; the formula will 
give 1 gallon of paint suitable for the first coat. 
White lead in oil 7 lbs., zinc white in oil 7 lbs., raw 



MARINE PAINTING 117 

linseed oil J^ gal., turpentine 2 gills, japan drier 1 
gill. 

Another formula: White lead in oil 5 lbs., zinc 
white in oil 9 lbs., raw linseed oil 3 pints, turpen- 
tine 4 gills, japan drier 1 gill. 

Interior White Paint. — This paint is intended 
for store rooms, magazines, etc. The formula gives a 
gallon of paint. White lead in oil 7 lbs., zinc white 
in oil 7 lbs., raw linseed oil 1 quart, turpentine 1 quart, 
japan drier 1 gill. 

Flat White Paint. — This paint is intended for 
use in such places as officers' quarters, etc. The 
formula makes one gallon. French zinc in oil 8 lbs., 
white lead in oil 9 lbs., turpentine 3 pints, raw lin- 
seed oil 1 gill, japan drier Y /z gill. 

Another formula. French zinc white, in oil, 17 lbs., 
turpentine, 3 pints, patent driers, mixed thin, y 2 gill. 

Spar Color. — This paint is for spars, davits, 
smokestacks, ventilators, etc. The formula will yield 
one gallon. White lead in oil 1(^/2 lbs., French yel- 
low ocher in oil 1^2 lbs., raw linseed oil y 2 gal., tur- 
pentine 1 gill, japan drier 1 gill. 

Oxide Paint for Boat Topping. — This paint is in- 
tended for use on waterways, inner bottoms, and all 
places where a quick-drying paint is necessary. The 
ingredients are to be mixed and ground together in a 
paint mill. The formula will produce a gallon of 
paint. Venetian red 5 lbs., spar varnish 3 pints, japan 
drier 2/5 gal, 



WINDOW GLASS, GLAZING AND PUTTY 

Grades and Sizes of Glass. — The ordinary- 
jobber's stock of American window glass consists of 
about 75 per cent. "B" quality, and 25 per cent. "A," 
with about the same proportions in single and double 
thickness. The usual building specifications fall 
within these limits. 

The only choice in thickness in American window 
glass is between American single, which averages one- 
tenth of an inch, weighs about 20 ounces per square 
foot, and is safe to use against ordinary wind pressure 
in sizes up to 28 x 34 inches, and double strength glass 
of about one-seventh inch thick, requiring a counter- 
balance of 26 ounces to the square foot, and procur- 
able up to sizes whose sum makes 120 inches; that is, 
60x60 inches, 40x80 inches, or anything within 
these limits. It is hardly safe to use double strength 
window glass above 40x44 inches in exposed situa- 
tions or in movable sash. If it is desired to economize 
on the cost of plate glass in a front, the larger sizes 
of double strength window glass may be used, but 
only in stationary lights and in protected situations. 

The difference in cost between A and B qualities 
throughout the lists will be found to average about 10 
per cent, for ordinary sizes in single thickness, with 
more in the larger sizes and for double thickness. It 
is allowable for B quality to contain, in a minor de- 
gree, some of the lesser faults incident to its manu- 
facture, i.e., "cords" or "strings," small blisters, either 
from melting or caused by the workmanship, small 

118 



WINDOW GLASS, GLAZING AND PUTTY 119 

burnt patches; that is, where carbon from the gas 
flame of the flattening oven has adhered to the sheet. 
It should never be passed if any of these defects are 
too pronounced, nor if the sheet contains stone, sur- 
face cords, furnace scratches, pipe blisters, or is im- 
properly flattened ; nor if, as sometimes happens, small 
broken pieces of glass have become attached to the 
surface. These fragments usually refuse to come off, 
and besides their unsightliness, are a source of danger 
to the cleaner. 

In buildings where clear lighting is of no impor- 
tance, the "C" quality, or "O.B." machine brand will 
save a little, but the buyer must be prepared to pass 
any defects in glass except "stones." By this is meant 
pieces of foreign matter, clay from pots and tanks of 
material not thoroughly crushed; such blemishes are 
not permissible, because under stress and unequal 
weather conditions they are almost sure to crack the 
sheet and necessitate replacement. For ordinary mill, 
warehouse and cheaper household construction, "B" 
quality is usually specified, keeping in mind that the 
smaller the size the less the price for the glass, though 
not, of course, for the sash construction. 

The ordinary "A" glass of commerce is the highest 
quality the factory produces above "B," very little 
selecting being done above the former. If "AA" is 
ordered from a jobber, he will open a few boxes of 
"A" and select therefrom such sheets as he thinks will 
pass inspection. In "A" glass no cords of any kind 
should be passed, no stones, no gatherers' blisters, 
except the occasional small "blib" caused by the melt- 
ing or very fine dust blisters, nor any glass that is 
wavy enough to distort vision. 

In specifying any quality and thickness of Ameri- 
can glass it is well to require a tank-made, hand- 
blown, natural-gas and dipped brand. 



120 THE EXPERT HOUSE PAINTER 

Hand-blown glass is to be preferred to machine- 
drawn because of its greater reliability in withstand- 
ing the strain due to changes of temperature. 
Machine-drawn glass cylinders were first made by 
one John Lubbers, of Pittsburgh, in 1895, and though 
at first very inferior in quality, have been much im- 
proved. They are not desirable, however, when a 
thoroughly reliable article is called for. Tank-made 
glass is to be preferred to that melted in pots, inas- 
much as it is made with a salt-cake base and not 
liable, like the pot-melted, to fade in the course of 
time. Dipped glass means that the sheets, hot from 
the lehr, are dipped in hot water and acid, removing 
from them all traces of sulphur stain. Glass made 
with natural gas is to be preferred, because it carries 
no excess of carbon, it is not likely to be burnt, that 
is, have the small particles of unburnt carbon adhere 
to the surface of the sheet. 

The next step in quality from American is the so- 
called French, which is usually Belgian-made, and 
runs fully 25 per cent, better than corresponding 
American qualities, though it is lighter in weight than 
the corresponding grade of the American, the single 
being usually about one-tenth inch thick and weighing 
17 ounces to the square foot, the double, about one- 
eighth inch thick, and weighing 21 ounces. In small 
sizes, up to 10x15 inches, the French glass usually 
sells in New York at the same price as the American, 
and the difference is not very great up to 16 x 24 
inches. Above this freight charges, breakage and 
tariff make a difference of a few cents per square foot. 

If the very best blown glass is desired, the English 
must be specified. This is rated by weights per ounce 
to the square foot, and the 21 and 26-ounce quali- 
ties are most frequently used. English glass may be 
readily mistaken for plate glass, as it contains almost 



WINDOW GLASS, GLAZING AND PUTTY 121 

no waves and no defects except an occasional very 
small blister. 

As to plate glass, there is little to say, American 
glazing-quality plate being the usual specification. If 
a better grade is desired, "silvering" quality may be 
called for, and if the best, "French silvering," this 
last being as near perfect a glass as is produced com- 
mercially. It is almost silver white, whereas Ameri- 
can plate is usually a little green in color. It is pro- 
curable any size and thickness for special purposes; 
the usual glazing thickness is about one-fourth of an 
inch and weighs three and one-half pounds per 
square foot. The only defects apt to be found in 
plate glass are bubbles, and occasionally a gray spot 
where the polishing is not perfect. An excess of any 
of these imperfections is sufficient cause for rejection. 

Common window glass is made from silica, soda 
and lime. Crown glass is of a higher variety of 
window glass, being produced by a different manipu- 
lation of the blow pipe. It is of greater luster and 
beauty, yet as only small panes can be cut from a 
sheet, it is superseded by other products. Plate glass 
is made from sand, soda, lime, arsenic and charcoal, 
and is formed by casting and rolling on a table; there 
is much waste in the grinding, and the entire process 
is very expensive. 

Glazing Window Glass. — After the sash have 
been primed with white lead made quite thin with raw 
linseed oil, with a little japan drier, and left to be- 
come quite dry, they are ready for glass and putty. 
In some cases the sash are not thus painted, for it may 
be intended for natural finish. In such a case oil alone 
may be used, with some driers in it. Again, it may be 
that the outside of the sash is to be painted, and the 
inside stained or finished natural. In this case it is 
best to oil both inside and outside of the sash. In 



122 THE EXPERT HOUSE PAINTER 

the factory where the sash are made they are dipped 
in a priming liquid, consisting mainly of rosin oil. 
Putty will not long adhere to such a primer. They 
also stain the liquid with color, such as Venetian red, 
or dip in a mixture of whiting and rosin oil. If the 
sash are then glazed at the factory the putty will be on 
a par with the primer; of course such glazing is too 
poor to stay long on the sash. 

To glaze, an easel is necessary. This may easily be 
made from some strips of wood. First lay the sash 
down on a table, muntins up, and with a handful of 
glass proceed to lay the lights in the openings; the 
crown side up. Sometimes a light will not fit, but 
by trying several openings it may fit one of them; if 
it will fit none, lay it aside and if needed to finish 
with, cut off the excess size with the glass cutter. 
As a rule glass is better for being bedded. This means 
the placing of some putty in the muntins before lay- 
ing in the glass; this is especially desirable when the 
glass is not straight. The bedding may be done by 
taking some putty and pushing it on to the muntin 
with the thumb. Then place the glass in the open- 
ing and press down gently. Place the sash on the 
easel and proceed to glaze it, first having secured the 
glass with some glaziers' points. 

It requires time and practice to glaze rapidly. The 
expert takes up a small lump of putty in his left hand, 
with putty knife in the right hand, and pushes some 
of the putty under his thumb, feeding it thus to the 
thumb as he presses the putty down firmly in the 
muntin, and against the glass. He will thus putty the 
space as fast as his hand can give the putty. Any 
surplus putty remaining he will deftly take up on his 
putty knife. The putty should not quite come up to 
the outside edge of the sash, but should rather be a 
trifle below, so that it will not show from the outside. 



WINDOW GLASS, GLAZING AND PUTTY 123 

The corners must be neatly cut, and the putty made 
smooth and firm. 

When the sash is done, take a duster and wet it in 
a basin of water, which should be at hand, and brush 
over the glass next to the glazed parts, and the grease 
left by the putty will wash off; if left to become dry 
it will be very difficult to remove. 

The driving in of the zinc points may be done with 
a heavy chisel, the beveled edge against the glass, but 
there are tools that do the work faster, such as the 
stripping machine or point driver. But for the 
ordinary glazing that the painter has to do the chisel 
answers very well. In driving the point see that it 
goes far enough into the wood to clear the edge of the 
wood showing beneath, so that the point will not be in 
the way of the putty knife. Use a size point fitted in 
length and breadth to the size of the glass; use one 
neither too large nor too small. There are sizes 
enough to fit all sizes of glass. Fasten the" light so 
that it will be fast to the wood, not liable to move 
and so disarrange the putty. If the glass is too short 
or too narrow, it may be well to fasten it in place with 
a tack. Never cut out the wood to fit a glass too large 
for the opening ; cut the glass. 

For a quick job of sash priming, use raw oil and 
driers, or boiled oil, as these will dry much sooner than 
white lead priming. 

For bedding small lights quickly the following plan 
is suggested: Roll out some putty on a glass or 
marble slab, using a rolling pin, and roll out to such 
thickness as may be determined by the amount of 
putty required. Take up the putty on the edge of the 
glass, filling the four edges; then drop the glass into 
its place and press down; drive the points and then 
glaze. 

Glazing a Skylight. — Prime the sash in the usual 



124 THE EXPERT HOUSE PAINTER 

way, and when it is dry take some new muslin or 
linen and cut in strips that will cover bar and glass 
on either side of frame to about an eighth-inch; then 
paint the bar and strip and lay the latter on the fresh 
paint, starting at the bottom and working up to the 
top, rubbing out the creases. When dry, give it an- 
other coat of paint. This method has proved success- 
ful and has kept water out for six years. 

Putty Marks on Ground Glass. — It is difficult to 
remove putty from ground or other rough-faced 
glass, and yet it must be removed. There are several 
plans advised, one of which is to remove the putty by 
means of lye, using a small swab. The putty will 
soon disappear, then wash with clear water. Some 
advise rubbing along the glazing part with soap, others 
say a raw potato. But as in either case the object is 
to prevent the putty from adhering to the glass it 
would seem that unless due care were exercised that 
the putty in the sash would not hold where it touched 
the glass. By being very careful very little putty will 
get onto the glass. 

Hanging Sash Door Sash. — Should the sash that 
is placed in a front door be hung with the putty side 
or other side out? This the carpenter decides, and as 
a rule the sash shows the putty outside, though not 
always. We think the sash and door will look better 
with the putty inside. As concerns an old sash door, 
we leave it as we found it, of course. 

What is a Good Day's Work Glazing? — One au- 
thority says that taking average small lights, say up 
to 10 x 12, a man should be able to glaze about ten 
lights per hour. But a boy, glazing in a mill, will do 
very much better than that. These young glaziers will 
do 6o sash with lights 8xio, nine-light sash; this 
would amount to 540 lights per day. But these boys 
do nothing else, and long experience makes them very 



WINDOW GLASS, GLAZING AND PUTTY 125 

fast at the work. The painter does such work only 
occasionally. 

Amount of Putty Required. — Estimating that 
one pound of putty will run 20 feet of sash rabbet, 
ordinary size sash, and about 15 feet on large sash 
rabbets, 60 sash, 8 x 10 size, nine lights, should take, 
for the 1,620 feet of rabbet, about 81 lbs. of putty, in- 
cluding the waste. 

Removing Old Glass. — The usual method is to cut 
out the hard putty with a hack knife and hammer. 
Unless very carefully done this plan is apt to cut and 
disfigure the wood, and break the glass. One painter 
says that he removed 100 lights at one job without 
cracking a glass by means of the blow-torch; he uses 
a small torch, with the flame only about half-way on. 
If there are many glasses to remove or much old putty 
to take out, better unhang and take out the sash. 

Scratches on Plate Glass. — If the scratch is not 
very deep it may be removed by rubbing a powder 
made from powdered chalk 60 parts, tripoli 30 parts, 
bole 15 parts, mixed, reduced to a fine powder, and 
sifted. Wet the scratched part with water, dip a piece 
of muslin in the powder and rub the scratch; repeat 
this until the scratch is gone. A deep scratch will 
have to be ground out with the finest emery flour, such 
as opticians use; then the part must be rubbed to a 
polish with rouge and water, with a piece of soft 
leather. Or grind the scratch out with a buff wheel 
of wood, with fine pumicestone flour and water. Very 
slight scratches may be rubbed out with a pad of raw 
cotton charged with jewelers' rouge. 

Removing Old Putty. — Remove the sash and lay 
it flat on a table, putty side up. Take a spring-bottom 
oil can of small size and fill with benzine or gasoline, 
and squirt a little of the fluid along the putty; apply 
a lighted match to it. It is said that this will soften 



126 THE EXPERT HOUSE PAINTER 

the old putty in a few moments so that it may easily 
be removed with the knife. It may require a second 
application in some cases. Perhaps denatured alcohol 
would do as well, and it is not as dangerous to use. 
In using the benzine or gasoline be careful there is no 
other fire near. 



GLAZIERS' AND GLASS CUTTERS' TOOLS 



Glaziers' Points. — In the beginning of the use of 
window glass it is probable that the lights were 
fastened in with small triangles of tin, where the glass 
was not leaded. Sometimes we come across these 
tiny tin points when re- 
pairing ancient sash. To- 
day we have the factory- 
made zinc points of vari- 
ous sizes, adapted to the 
requirements of large and 
small lights. These points 
come in sizes ranging 
from 3, the smallest size, 
up to ooo, the largest. 
They come in paper pack- 
ages holding i lb., y 2 lb. 
and % lb. You can buy 
all sizes in the y 2 lb. box- 
es, while the % lb. boxes 
contain Nos. o, I, and 2 
only. 

There are double-point- 
ed points for green-house 
and hot-bed glass, in sizes 
1, 2 and 2,y 2 , each box 
containing 1,000 points. 
Reyper's points. 

The common tool used by painters for driving zinc 
points is a heavy chisel, using it with the bevel cutting 

127 



Trf- 

\y 


-v 


V 


•v 


V 


■V 


V 


■V 


V 


•V 


V 



They are known as Van 



128 THE EXPERT HOUSE PAINTER 

edge next to the glass; they are a very satisfactory 
tool. There is a hammer with a rotary head, tri- 
angular in shape, with faces adapted to the different 
sizes of point. The fact of the head of this hammer 
being rotary enables the workman to hold the handle 
at any angle while the head is flat against the glass. 
The other end is made of malleable iron in the form 
of a hammer and useful as a hammer. This tool is 
nickel-plated and the angular head is made of tool 
steel. 

The Hacking Knife. — This tool is intended for 
hacking out old putty from the sash, driving it by 
means of a hammer. The blade is hand-forged, the 
handle of stiff leather, firmly riveted. The knife 
may be had in lengths of 3^2, 4 and 4% inches, and 
in width about 1]/% inch; thickness ]/% inch. These 
knives are made for both light and heavy work. 

Putty Knives. — These come in different styles 
and at different prices, according to style, quality of 
steel and finish. There are stiff and elastic blades, 
with square or bias point, also double pointed or dia- 
mond point. The choice is a matter of personal 
liking; some like a stiff, others a flexible blade; some 
prefer a straight or square end, while others select 
that having a bias shape. 

The blades are usually about 4 inches long, though 
some exceed this length. There is also a trowel putty 
knife, glazing knives, and half-elastic wide putty 
knives, the latter useful for scraping off after the 
gasoline torch. The blade is about the width of the 
flame, or two inches. The length is nearly 4 inches. 
There may also be mentioned "filling" knives, putty 
knives of rather wider dimensions than the ordinary 
glazing knife and something longer; they are elastic. 

Glass Cutting Boards. — These boards are marked 
off into inches and fractions thereof on all sides, with 



GLAZIERS' AND GLASS CUTTERS' TOOLS 129 

ruled lines across the board both ways. A guide rule 
comes with the board. It is made so that it will not 
warp, swell or shrink. It gives a perfect surface for 
cutting glass upon. The straight-edge cannot slip 
while you are cutting the glass. One form of board 




has illuminated figures, so that it is easy to cut in a dim 
light. 

The Glaziers' Rule. — These rules are capped with 
brass on the ends, and are 3, 4, 5 and 6 feet in 
length. 

Plate Glass Cutters' Rule. — These are the same 
as above, but longer, being 7 and 8 feet in length. 

Plate Glass Rollers. — This is a sort of pliers, 
intended for breaking away the edges of plate glass 
after the glass has been cut and a narrow edge left. 

Plate Glass Pliers. — This is a similar tool, used 
for breaking off wider strips of glass. 

The Steel Wheel Cutter. — For ordinary pur- 
poses, where not much cutting is required, as with the 
ordinary painter, the steel wheel cutter does very well. 
The one containing several wheels, known as the maga- 
zine type, is the best. Not that it will cut better than 
the single-wheel cutters, but you have four times as 



130 THE EXPERT HOUSE PAINTER 

many cutters in the one tool as in the other. Such 
cutters will do as good cutting when new as a diamond, 
at much less cost. Besides which the inexpert user 
of a diamond will soon spoil it, for it is easily injured 
by not holding it right or by scratching instead of 
cutting with it. Even heavy plate glass may be cut 
with the hard steel wheel. 

In using the steel cutter draw it firmly across the 
glass, making a neat cut from edge to edge; do not 
bear on too heavy. When it has been used a few times 
it will become more or less dull, then for fear of 
breaking the glass better turn to the next wheel. 

When the glass is old or hard it is difficult to cut 
it, even with a new wheel; but if you will moisten 
the wheel in turpentine it will cut better. Old glass 
is always very hard to cut. 

The Steel Wheel Rotary Cutter. — This tool is 
used for cutting glass in other than straight lines, or 
in circles and curves. The cutter disk contains six 
hardened steel wheels, and each or all may be renewed 
when worn out. 

Cutter for Plate Glass Factory Use. — This 
tool is quite different from any other glass cutter, be- 
ing intended only for factory use. It is shaped like a 
rubber stamp block. 

The Glazier's Diamond. — These are for ordinary 
glass cutting, with very small bits of real diamond chip 
set in the tool, and the price depending upon the size 
or value of the diamond. As these diamond cutters 
are tested by an expert before leaving the store the 
dealer is not inclined to take one back after its sale. 
Hence it is safer to test the cutter before you pay for 
it, and if you are not expert the dealer may test its 
cutting qualities for you. There is a certain way to 
hold the diamond when cutting with it, and to bear 
on it and cut. It is easy to ruin a diamond with the 



GLAZIERS' AND GLASS CUTTERS' TOOLS 131 




first cut. Never run the diamond twice in the same 

cut. When worn or damaged you can get it reset. 
The Universal 

Glass Cutter. — It 

is very easy to cut 

with this popular 

tool, as it is set 

squarely on the 

glass and requires 

only to be pushed 

along to insure a 

clean cut. It has a 

diamond point, 

with one size for 

cutting single 

strength glass, and 

another for double 

strength. It has a full size key for breaking off edges 

of glass, and in form is convenient for carrying in the 

pocket. 

The Circular Cutting Machine. — This tool cuts 

with a diamond, and comes in two sizes, the smaller 

one having a 
cutting capa- 
city of from 
34 to 6 inch- 
es. The larg- 
er machine 
cuts from I 

inch to 14 inches. Another and similar device is the 
Circle Extending Rod. — This machine may be ad- 
justed to cut from 6 to 96 inches, having an extend- 
ing rod and the cutting being done with a diamond 

point. 




PUTTY, ITS MANUFACTURE AND USE 

Commercial Putty. — The formulas used for the 
commercial manufacture of putty for glazing purposes 
are approximately correct and near enough for prac- 
tical purposes, so that the putty maker can use his 
own judgment, something depending upon the physical 
character of the ingredients used; for instance, the 
finer the whiting used the less will be required. For 
the very best putty 42 lbs. of gilders' bolted whiting 
to the gallon of raw linseed oil is used. With what is 
known as commercial whiting, a much coarser ma- 
terial, 50 lbs. of whiting to the gallon of oil may be 
used, or perhaps rather less. Foots or oil settlings are 
used in some putties, and as this is thicker than raw 
oil it permits of the use of less whiting. About 3 
parts of foots to 5 parts of raw oil is used in this 
grade of putty. Sash putty is what the sash factories 
use for glazing. It is composed of 70 lbs. commercial 
whiting and 30 lbs. of marble dust, mixed in a gallon 
of raw linseed oil and one gallon of foots. Foots 
weighs four ounces more to the gallon than raw oil. 
A still cheaper putty is made from equal parts of 
commercial whiting and marble dust. The thinners 
are the same as in the other formula, one gallon each 
of raw oil and foots. Owing to its varnish-like body 
this foots, or flocculent matter taken from the bottom 
of the oil after standing a long time, is a great help in 
the making of these putties. 

Skylight putty is made from 75 lbs. gilders' bolted 
whiting, 25 lbs. dry white lead, 5 lbs. fine silica, 5 lbs. 
litharge or red lead, and 2 gals, raw oil. This putty 

is for filling or bedding the sash. 

132 



PUTTY, ITS MANUFACTURE AND USE 133 

There is a form of putty known as mail-order putty. 
Formula: Commercial whiting 50 lbs., marble dust 
30 lbs., boiled oil 1 gal., and paraffine oil 28 deg. 1 gal. 
Such putty soon peels from the sash, and any remain- 
ing will finally rot. 

Shop Made Putty. — Where only a small quantity 
of putty is required it may easily be made in the shop. 
Here is a formula for making the best glazing and 
general purpose putty. Break up 2 lbs. of keg lead in 
a quart of raw linseed oil; then add by mixing 10 lbs. 
of gilders' best bolted whiting; stir the mass in a suit- 
able vessel until fit to take out upon the mixing board, 
when it may be manipulated with the hands, adding 
more oil if required. A better way is to place the 
whiting in the vessel and pour the oil over it ; let it be 
until the oil has percolated through the mass, when the 
white lead may be mixed in with the mixing stick. 

Putty may be made upon a larger scale by using a 
barrel, an oil barrel doing very well; in this, place 100 
lbs. of gilders' bolted whiting and on top of it pour 
18 lbs. of raw linseed oil. The oil weighs 7^4 lbs. to 
the gallon. After some hours the oil will have per- 
meated the whiting, forming a sticky mass. Keep 
the barrel covered, and when you require some putty 
take it from the barrel and incorporate whiting with 
it to form a workable putty. This is a very elastic 
putty and will not harden perfectly in less than three 
years, and in some cases has been found not perfectly 
hard in six years. 

It should be remembered that glazing putty needs 
considerable kneading to make it the best. In the 
factory the whiting and oil are placed in a mill of 
dished form, in which a pair of very heavy iron 
wheels go round and round over the mass for a long 
time, or until the putty is perfectly homogeneous. 
After that the putty is cast upon a table where it re- 



134 THE EXPERT HOUSE PAINTER 

mains for several days, to sweat out, as they call it. 
It cures or ripens by that time, and is then a very 
tough and elastic putty. So that the shop made putty 
should be rolled and even hammered if one is to get 
the very best results. 

Whiting. — There are several grades of whiting, 
the commonest or cheapest being known as com- 
mercial; it is very coarse and always damp. Marble 
dust is used in putty making, but then it is not a 
whiting. The commercial whiting is very much like 
marble dust. Even the best whiting may prove to be 
inferior at times, owing to imperfect manufacture, for 
whiting is made from lump chalk, which undergoes 
various processes, boiling, for instance, which relieves 
it of its sulphur. Sometimes the whiting will be badly 
sifted or levigated, and full of coarse pieces and lumps. 
When whiting contains free lime it is bad. 

In any case whiting should be made perfectly dry 
before it is made into putty, though this is not always 
done, because damp whiting takes up less oil than dry 
whiting. In fact, water is added when a cheap putty 
is made. And into cheap putty such things as rosin 
oil, fish oil, petroleum oil, etc., are used, forming a 
vile compound, one that stinks, but does not stick. 
Poor putty always has an unpleasant odor, quite dif- 
ferent from pure oil-and-whiting putty. Cheap putty 
is always heavier than pure putty, for you can place 
30 lbs. of the former in a can that will hold but 25 
lbs. of the latter. This indicates a loss to the buyer 
who pays for five pounds of waste material from 
which he gets no good. Some cheap putty is mixed 
with deodorized mineral oil, and such putty never 
hardens; the addition of a little white lead to it will 
assist its hardening. 

Remarks on Putty. — Putty should have the right 
proportions of adhesive and cohesive qualities, should 



PUTTY, ITS MANUFACTURE AND USE 135 

dry slowly, and in drying should expand and fasten to 
the walls of the nail hole or to the woodwork of the 
sash and to the glass; it should not contract, crack or 
fall out. Putty is sometimes put up in hog bladders, 
which prevents drying out; it is also put in tins, an- 
other good way. The 25 lb. cans are good for paint 
cans after being emptied, and while they contain putty 
keep the lids on. Any putty left from a job should 
be put in one of these cans, and will then be fit for the 
next time. This is better than keeping it in water. 
If putty is too soft when taken from the can add some 
whiting to it; lay the putty on a board and sprinkle 
whiting over it, which will absorb the oil. Then mix 
and knead well. 

Putty made with mineral oil will cause white paint 
that is applied over it to turn yellow, and will also 
cause the paint to peel off, with some of the putty with 
it. When such putty is used to fill nail holes over 
which dark paint is applied it will cause color to fade 
much lighter than the rest of the work. It retards 
the drying of the paint also. When you get a putty 
that will not dry in the usual putty way you may be 
sure that neutral petroleum oil has been used in its 
making; the addition of some litharge or red lead will 
assist the drying. 

In cold weather putty stiffens and does not work 
readily, and in this case the addition of a little 
glycerine, or cottonseed oil or fish oil will help. These 
keep the putty soft. In warm weather more whiting 
and less oil is required. Keep some whiting handy, 
to dip your putty in as you handle it. 

Some Putty Formulas 

Skylight Putty. — Take 10 per cent, of dry white 
lead and 90 per cent, of best whiting, add boiled oil 
to form a stiff paste. Proceed as directed for ordi- 



136 THE EXPERT HOUSE PAINTER 

nary putty. The more putty is kneaded the better. 
This putty is good for wood or iron skylights. Here 
is one that is adapted for iron skylights. Take paint 
skins and pot cleanings of the shop and boil ; add whit- 
ing to form a putty. 

Greenhouse Putty. — This must be a rather soft 
or elastic putty. Mix together 9 parts of raw linseed 
oil, one part of beef tallow, and enough white lead or 
whiting or a mixture of both to form a putty. This 
putty never becomes hard, and therefore allows for 
contraction and expansion. Liquid putty for green- 
house glazing may be made by adding boiled oil to 
ordinary putty until thin enough to flow from the glaz- 
ing machine used for such work. 

Soft Putty for Hot-house Sash. — Mix together 
10 lbs. best whiting and I lb. dry white lead, adding 
boiled oil enough to form a paste; a few drops of 
cottonseed or sweet oil, say, J4 gill, will make the 
putty more elastic and less inclined to dry hard. This 
putty will do for skylights also. 

Some use and prefer a putty for hot-house sash 
made from dry white lead and ordinary putty, adding 
as much lead as the putty will take, and adding a 
little glycerine, to render it more elastic. 

Very Hard Putty. — For some kinds of work an 
extra hard kind of putty is required, for brick fronts, 
for instance, and any exterior work requiring quick 
and hard drying putty. Mix dry red lead with boiled 
oil and varnish. This putty must be used soon after 
its making, as it quickly hardens. 

Facing Putty. — For facing up defective work and 
general puttying, mix equal parts of dry white lead, 
dry litharge, and the best whiting; add boiled oil, and 
work the mass to form a soft putty. 

To Cause Putty to Harden. — To make common 
putty dry harder than it would add a little plaster of 



PUTTY, ITS MANUFACTURE AND USE 137 

Paris, or some red lead. For a less hard putty add 
white lead instead of plaster or red lead. By using 
less oil in the mixing and in its stead a little turpentine 
the putty will be harder. It is a mistake to add too 
much hardening material when making a hard-drying 
putty, for it makes the putty brittle, causing it to break 
up easily. Here is a good formula, one that avoids 
the use of too much hard drying material. Add some 
whiting to dry white lead and thin with gold size 
japan, with a little boiled oil to give it proper elasticity. 

Coloring Putty. — For puttying natural woods 
make a putty from dry white lead, with no whiting, 
for the latter does not give clear tints. For hard pine, 
tint with raw sienna; for oak, tint with either raw 
sienna or French yellow ocher; for walnut, tint with 
burnt umber; for mahogany, tint with burnt sienna. 
Make the color of the putty a little lighter than the 
wood, for the putty will darken a shade in time. 

Non-Shrinking Putty. — A very elastic non- 
shrinking putty may be made from this formula: 
Take 15 lbs. best whiting, 27 oz. rye flour, and 2 qts. 
raw linseed oil ; mix and knead well. 

Swedish Putty. — This also is a non-shrinking 
putty. It is used on wood, iron, and stone work. To 
6 lbs. best whiting add a quart of water and mix to 
a paste; then mix it with 50 lbs. whiting, 6 lbs. dry 
white lead, and a gallon of raw linseed oil. 

Sawdust Putty. — Mix sawdust from the kind of 
wood that is to be puttied with glue size, adding some 
pigment for body, say, silica, barytes or whiting; add 
some color to match the wood, if the sawdust does not 
do so. 

Mastic Putty. — This is the putty described under 
the head of Greenhouse Putty. Use only a putty that 
has sweated out well before it was thinned with boiled 
oil, or it will cause trouble afterwards on the sash. 



138 THE EXPERT HOUSE PAINTER 

Putty for the Motor Car. — This putty must be 
tough and elastic and sure to stick where it is put. 
It may be made upon this formula: three parts of 
lead ground in oil, two parts of dry white lead, and 
one part of whiting; mix and knead to working con- 
sistency with equal parts of rubbing varnish and gold 
size japan. For a soft plastering or glazing putty use 
this: Whiting one part, lead ground in oil one part, 
and dry white lead two parts; reduce to the proper 
consistency with equal parts of quick rubbing varnish 
and coach japan, kneading the mass until smooth. 
Apply one day and sandpaper the next. 

A quick and hard putty for car work may be made 
from one part whiting and two parts dry white lead, 
mixed to the proper consistency with equal parts of 
quick-rubbing varnish and pale drying japan. 



SANDPAPER AND ITS USING 

Sandpaper and Using It. — Though we no longer 
have "sandpaper" the ancient name sticks, and will to 
the end. Crushed quartz gives us a much better 
abrasive than sifted sand can possibly do. And there 
are more degrees of fineness than formerly prevailed, 
these ranging from the grade that is soft as the downy 
cheek of a babe, on up by gradual steps to a paper that 
might serve as a section of repair for a macadam road- 
way. 

It is important too to have degrees of fineness 
adapted to the many kinds of work sandpaper is re- 
quired to make smooth. And the workman must use 
the paper carefully, so as not to injure the surface that 
is being rubbed. A fine finish can easily be marred by 
careless smoothing, or by the ignorant use of the 
wrong grade paper. 

Some old finishers split the paper, when it is de- 
sirable to do certain parts and surfaces, and sand- 
paper may be had that has both sides coated, so that 
in splitting it you have two sheets of fine paper in- 
stead of one. The split is started in the making, so 
that all one has to do is to pull at that part and the 
splitting is easy. 

It is usual with painters to take a full sheet of sand- 
paper and fold it in two parts, then run the putty knife 
through it and separate the paper. For this purpose 
it is best to fold with the sand side in, otherwise the 
paper will tear ragged. Then the half-sheet is again 
folded and cut. If it is wished to fold the sheet to 

139 



140 



THE EXPERT HOUSE PAINTER 



form one pad, containing four quarters, and which is 
done where heavy sanding work is to be done, the an- 
nexed diagram will give the best method for doing it. 
By it no two sanded sides come together. Such a pad 

does for a sand- 
paper block. The 
sheet is first cut 
half way through 
the middle, as 
seen at A in the 
diagram. The 
diagram shows 
the plain or un- 
sanded side of 
the paper. The 
quarter marked 
2 is folded on i ; 
then this turned 
on 3 and finally 
on 4, forming a pad of four thicknesses, no two sanded 
surfaces in contact. 

For good interior woodwork use as fine a paper as 
will do the work properly; usually No. I answers, 
but it is advised not to use too coarse a paper. It 
will make scratches that will be hard to sandpaper 
out. No. o or even oo are coarse enough for fine 
work. 

Steel wool is used extensively in place of sandpaper, 
but will scarcely supersede the latter. For some pur- 
poses it is better to use steel wool, or shavings, for 
with it one can get into parts that are impossible with 
sandpaper. 

To test sandpaper for quality, rub two sanded sides 
together, and if the sand comes off easily it is poor. 
Good sandpaper is tough and elastic, the sand holds 
well, it is evenly sifted on, and it cuts clean and fast. 




SANDPAPER AND ITS USING 141 

It is well to keep a full assortment of the sizes on 
hand. 

To prevent sandpaper from slipping under the hand, 
chalk it on the back. To prevent dust arising when 
you are sandpapering lead painted surfaces, dampen 
it with turpentine; this also causes the paper to cut 
faster. Benzine with a little ammonia in it is also 
good for moistening the paper. 

When sandpapering around the edges of an object 
be careful not to cut through; bear on with a gentle 
but steady pressure. 



HOW TO BIND OR BRIDLE BRUSHES 

Many devices have been patented for bridling paint 
brushes, some with merit, yet none have successfully 
met the conditions required of a brush-bridling as the 
ancient hand-bridling has. With a ball of twine of 
the right thickness and a few tacks the painter can 
bridle any brush capable of receiving and holding 
twine. The method is of course not without its weak 
points, such as the tack in the brush head or in the 
handle, and which is apt to injure the hand, though as 
a matter of fact it never does. On a new brush the 
twine will slip down over the bristles and necessitate 
re-bridling, but after doing this once it is very seldom 
necessary again. It is well to not tie too tight at first, 
but when the bridling needs re-winding then bind it a 
little tighter, though never tight enough to choke the 
brush, or cause it to become fish-tailed. 

To bridle with twine, the old way, take the twine 
at its end and hold this against the head of the paint 
brush with the thumb, allowing about six inches to 
hang loose along the bristles and parallel thereto ; then 
bring the rest of the twine around and around until 
you have covered the bristles as far as it should go. 
This is about one-third of the length of the bristles, 
though there is no positive rule for this, for the bri- 
dling has to be according to what work the brush will 
have to do at first ; better not have too lengthy bristles 
to paint with, as they scatter paint. 

Some painters first tie the first round of twine 
where the thumb is holding, but many others simply 

142 



HOW TO BIND OR BRIDLE BRUSHES 



143 



pass the twine around and when the 6-inch end is 
brought back it is slipped through the loop formed and 
drawn tight and tacked. The remaining end of the 




twine is now brought back around the bristles half- 
way, and there a loop is formed, through which the 
free end of the twine is run, drawn tight, and tacked 
to the brush head and cut off. 4 

To Bridle a Sash Tool. — The method is similar to 
that described above. Only the two ends of the twine 




are disposed of differently ; they are either fastened to 
the handle, a little beyond the brush head, with small 
carpet tacks, or slits are made in the wood and the 



144 THE EXPERT HOUSE PAINTER 

ends of the twine are forced in these slits with the edge 
of the putty knife. The latter is the better way, as it 
does away with the tack heads, which are too much in 
evidence when one is handling the tool. 

Common brown twine, not too heavy, neither too 
light, may be used for bridling brushes. Some prefer 
fishing-line, or cord such as they use with plumb-bobs 
and for chalk lines. 

Soaking a new bristle brush is not to be advised, yet 
when this is done it prevents the twine from slipping 
down on the bristles. 

Tight bridling causes the bristles to become fish- or 
swallow-tailed, often thus permanently spoiling the 
brush. Draw the twine moderately tight only, not too 
tight. As you run the twine around the bristles keep 
it up in place. 

The object in bridling a brush is to shorten the 
bristles temporarily, for if too long they will spatter 
the paint. As the bristles wear down the bridle may 
be taken off a little at a time. 

When the bristles of a brush are too short to bridle 
with twine, put a stiff rubber band around them. 

Paint, in course of time, gets hard under the bridle 
and should be removed, which may be done by taking 
off the twine and either putting on new, or by mak- 
ing the old clean ; also scrape away the old paint. By 
keeping the butts of the bristles clean the brush will 
regain some of its old elasticity and do better work, 
and last longer too. 



SCAFFOLD AND LADDER WORK 

To the painter unaccustomed to working from a 
swing, as the hanging scaffold is called, the structure 
suggests to his mind every possibility of a tragedy, 
but the experienced hand regards it with pleasure, 
as it is much easier to work from a swing than from 
ladder, jack, or any other device. If the ropes and 
swing stage are all right, as they should be, and in 
careful hands will be, there is no danger at all to the 
workman using it. The ropes are the first considera- 
tion. They should be the best made. To tell good 
rope from poor observe its color; a good rope will 
have a bright, clean, smooth appearance. Made of 
good hemp, the rope should be hard yet pliable, of a 
yellowish or greenish-gray color, and with a sort of 
sheen to it, silvery or pearly. A dark color shows 
that in the process of curing the hemp has suffered 
from fermentation. Brown spots indicate that the 
fibers were wet when the rope was spun; such a rope 
is soft and weak. Rope is sometimes made from in- 
ferior hemp covered with good hemp on the outside; 
this may be found by cutting a piece of the suspected 
rope and examining it. Some ropes are made by using 
short fibers or fibers of uneven length, or they may 
be unevenly spun. The first case is disclosed by the 
woolly appearance of the rope, the ends of the fiber 
projecting. Close inspection may result in finding 
other faults; a faulty rope is a dangerous thing in 
connection with a swing stage. 

The knots in a scaffold rope should be examined 
often, as they settle down and are liable to give way. 

145 



146 THE EXPERT HOUSE PAINTER 

It is a good idea to reverse the ropes once in a while, 
taking them out and changing them end for end. In 
this way parts that have the least wear will be required 
to take the place of the parts that have had most wear. 
It is not safe to allow the ropes to remain in one posi- 
tion until worn out. 

Keep the ropes in a dry place, neatly coiled, and 
hung up. It is usual to coil four strands of falls 
at one time, but a better way is to pull the two blocks 
together and lay the rope around them in a neat coil, 
then securely tie in the usual way. When a coil is 
to be opened it should be turned upside down and the 
hoisting rope attached to the hook on the upper block, 
and a line fastened to the hook on the lower block, to 
haul it down again. This will be found an easy way. 
First, it is a much lighter lift to get the tackle to the 
roof, a fact that will be appreciated when it comes to 
a lift of six to eight stories. Secondly, it avoids many 
twists that occur by doing it the other way. Thirdly, 
it allows you to adjust the falls more readily to the 
height of the job in hand. 

When in use for hauling up the stage, the rope is 
bending and straightening as it goes around the 
pulleys, causing the strands to chafe at the center of 
the rope. The smaller the pulley the worse this is. 
For this reason the rope should be run over a pulley 
of a diameter not less than eight times the diameter 
of the rope. 

Knots weaken a rope because the rope is bent in 
order to form the knot, and the outside takes the 
strain at the bend. These are overworked and break. 
The strain then rests on fibers below, which in turn 
weaken and break. 

There is a right and wrong way to coil rope. Be- 
cause of the way it is twisted in the making, it should 
be coiled as with the hands of a clock. In uncoiling 



SCAFFOLD AND LADDER WORK 147 

the rope the end last laid down should never be pulled 
up from the top. If for any reason this must be done 
turn the whole thing over and draw the end up 
through the center. 

To preserve a rope against dampness make a strong 
solution of copper sulphate, immersing the rope in this 
for about three days. But see that the rope is dry 
before putting it in the bath. This is important. 
After taking the rope out of the solution hang it up 
where it will dry soon, and don't put it away until it 
is dry. 

Tying Knots. — The advantages of a good knot 
are: its ease of tying and untying, its freedom from 
slipping, and its requiring very little rope to make. 
It also increases the confidence of its user. The knots 
here shown are loosely made in order to show clearly 
their true formation. A good test of proficiency in 
making knots consists in doing the work in the dark. 

All knots will jam more or less when under a strain. 
A true knot will hold, not let go. 

The names usually given to knots, and their uses, 
are as follows : 

i. Bight of a rope. 

2. Overhand or thumb knot — To prevent a rope 
from running out through the sheave of a block. 

3. Figure 8 knot — Used same as No. 2. 

4. Stevedore knot — Useful when the rope passes 
through an eye. It is easily untied after being 
strained. 

5. Square or reef knot — Useful in joining two 
ropes of the same size. However tight it may jam, 
it is easily untied. 

6. Granny or thief knot — This knot is not a safe 
one, and is the one most commonly tied by people. 
It is frequently tied in mistake for a square knot. It 
is likely to slip under a strain, and it is hard to untie 



148 



THE EXPERT HOUSE PAINTER 




SCAFFOLD AND LADDER WORK 149 

when set. Some say it does not slip, though it will 
jam tight. In any case it is not a desirable form of 
knot. 

7. Single sheet bend or weavers' knot — Used prin- 
cipally for joining two ropes of unequal sizes more 
securely than a reef knot. 

8. Double sheet bend — A more secure knot than 
No. 7. 

9. Carrick bend — Used in fastening the four guys 
to a derrick. 

10. Flemish loop. 

11. Slipknot. 

12. Bow line — For making a knot that will not 
slip; as safe a knot as it is possible to make. Useful 
when a loop that will not tighten is wanted on the 
end of a rope. After being strained, it is easily un- 
tied. Commence by making a bight in the rope, then 
put the end through the bight, and under the stand- 
ing part; pass the end again through the bight and 
pull tight. This knot should be tied with facility by 
every one who handles ropes. 

13. Timber hitch — The greater the strain the 
tighter it will hold. 

14. Clove hitch — Consisting of two half hitches, 
and used chiefly to tie ledgers to standards. On ac- 
count of its simplicity and security, this is the most 
useful of all the knots. 

15. Shows the clove hitch around a pole. 

16. Round turn and two half-hitches, for secur- 
ing a rope to a ledger or for fastening the guys of 
derricks, shear legs, etc. 

17. Fisherman's bend — Used when a thick rope, 
such as a fall, is made fast to a ring. 

18. Rolling hitch — Used in a variety of ways, but 
chiefly in making fast one rope to another that is 
held taut. 



150 



THE EXPERT HOUSE PAINTER 



19. Sheepshank — For shortening a rope when the 
ends are inaccessible. 

20. Catspaw — An endless loop, used where great 
power is required. 

21. Blackwaller — Easily applied, but requires 
watching, as it is liable to slip. 

The ends of ropes are often left to unravel, and 
often several feet are cut away on this account, when 




by simply binding the frayed ends with twine, or by 
making a wall crown, as shown in the illustration, the 
rope might be saved. 

Making a Scaffold Hitch. — The illustration 
shown has reference to a knot that is especially use- 
ful in scaffold work. Taking the figure shown on the 
left, draw to the left the rope in the left hand, and to 
the right the rope in the right hand, gaining the posi- 
tion shown in the middle illustration. Turn the plank 
over, draw the ropes up above it, join the short end to 
the long rope, by an overhand bowline, pull the bow- 



SCAFFOLD AND LADDER WORK 



151 



line tight, at the same time adjusting the length of the 
two ropes so that they hold the plank level, and the 
hitch is finished as shown in the right hand illustra- 
tion. Attach a second rope to the other end of the 



DKJRT 



LOOP CkTVBW 




Bound TVBN 



tfALF Hitch 



fl$WE&«WTJfooT. $revEWwaKnoT ^g^j^TJBS, 

^CMWHEP 




fiM 




irmi 



ri$.fl pKj.12 fl«4*. 

fdkerow Hitch. 



plank in the same way, and the scaffold is ready and 
safe. 

Handy Scaffold Bracket. — This bracket will be 
found useful in country work, its particular useful- 
ness consisting in its handiness where there is a tall 
gable, for instance, on a job that will not warrant the 
setting up of a regular scaffold, and which cannot 



152 THE EXPERT HOUSE PAINTER 

easily be done from a ladder. The more weight you 
place upon this scaffold the firmer it holds. It cannot 
slip and is perfectly safe. Take some 3x4 straight 




grained wood and saw off two pieces about three feet 
long, and two pieces about four feet long. Place as 
shown in the diagram, the shorter piece on top. Then 
saw out strips of sound board about the width of the 
angle pieces, and saw off to fit as shown. There are 
strips on both sides of the bracket. To place these 
two brackets in position, for two at least are neces- 
sary, get a long, strong pole and place the lighter end 
in the crotch of the bracket, as shown, and push the 
bracket up to where you wish it to be. Do the other 
bracket the same way. Or by laying a scaffold plank 
or two on the two brackets before raising them you 
will have the scaffold ready at once. A ladder to reach 
to the scaffold will enable you to get on top of it; 
in some cases a handy window has sufficed. The pole 
that raises the bracket is slanted so that it will have 
sufficient foot-hold, and the butt end will set in the 
earth more or less, so that it cannot slip, 



SCAFFOLD AND LADDER WORK 153 

Splicing Planks. — Two planks may be spliced at 
the end to form a longer plank by means of a strap 
iron as shown in the illustration. This iron is 
fastened to the bottom of the bottom plank, or it may- 
be used without being made fast at all. 




Raising a Ladder. — When you raise a ladder do 
not raise it with one leg alone resting on the ground, 
but see that both legs are resting there. This will pre- 
vent strain on the ladder, which in turn causes the 
rounds to become loose. Also, in taking the ladder 
down, be careful and do not take it down on a strain. 

It seems very simple to see two men put a ladder 
up against a wall, but it needs care and a knowledge 
of a few essential things, or a man may be maimed 
for life, or the ladder broken. The "footing" of the 
ladder is most important. It is better for two to be 
at the foot and one to raise it if there are only three 
men, and if two are raising they should be of equal 
height, or nearly so. The one that is raising should 
push up from the sides, and not from the rungs, and 
do it steadily, and not in jerks. When there are two 
raising it, each should take a side and push steadily 
and together. The one "footing" it should place both 
feet upon the bottom rung (not on the ground, as it 
invariably slips), and catching the rung above, throw 
his weight back so as to pull the ladder up. He must 
never get off the rung until the ladder is perfectly 
upright and then must act in concert with the one who 
is raising. When two are "footing" one should put 



154 THE EXPERT HOUSE PAINTER 

the left and the other the right foot on the bottom 
rung. When lowering the ladder the footer must not 
get off until the ladder is right on the ground. 

Never use a ladder that has a damaged side or rung. 
Never take hold by the rungs when climbing; take 
hold of the sides. When the other man is raising 
the extension ladder you help him by taking hold of 
the sides, not the rungs. When footing the ladder 
pull with the man on the other side. Never slide down 
a ladder. 

Doing Steeple Work. — By the following method 
a man may climb a pole a mile high. Take an ordi- 
nary bos'n's chair with a tail (rope) of sufficient 
length. Pass this tail around the pole twice, under- 
neath its own part, and once around above, tucking 
the end under its own part, making a rolling hitch. 
Get in the chair, take in all the slack rope you can get, 
raise yourself as high as possible, jamming your hitch 
tight. Have now a piece of rope of sufficient length, 
both ends spliced together, pass it around the pole, 
one turn under and one turn over its own part, tuck- 
ing the end under, thus making a clove hitch. This 
is put on about the height of your knees, leaving the 
loops of your rope hanging down. We will call this 
rope a strap. Place a foot in each loop and raise 
yourself up ; pushing the hitch on your bos'n's chair up 
as high as you can reach, jam it tight. Sit firm in 
your chair and draw your feet up, strap and all, as 
high as you can; then raise up again, pushing the 
chair up as before, and so proceed until you get to 
the top. 

We sometimes see weather-vanes on the top of a 
rod anywhere from 6 to 16 feet in length above the 
church spire. It is necessary to take the vane down 
in order to re-gild it. An expert says he has taken 
off and replaced vanes by the above method, some 



SCAFFOLD AND LADDER WORK 155 

nine feet long and weighing 50 pounds. He has 
painted many flagstaffs also by this method. The 
bos'n's chair should fit snug to the hips, and thus sit- 
uated your hands are free for the work and you are 
at ease. 

Ladder Contrivances. — A handy means of hold- 
ing the top of your ladder a foot or more from build- 
ing — convenient for lettering or painting wide cor- 
nice — is given as follows: Bore half-inch hole 
through side pieces of ladder ten inches from top. 
Take half-inch rod, two feet or more in length, bend 
at right angles two inches from end — this to fit in 
the half-inch hole. From the short bend, twelve 
inches up, bend again — obtuse angle — make two of 
these, one for each side — place under top round and 
in the holes, shape them just right and fix to stay 
in position. The rods can be placed or removed in 
a moment. 

Legless step-ladders for outside work are fine. On 
a step-ladder of this kind work can be done with 
more ease and faster. It is easier standing on the flat 
step than on a ladder rung, and your pot is before 
you. Have at least three, 6, 8, and 10 feet long. 
With these you can reach up to 14 feet. 

A Pennsylvania painter tells how he painted a 
steeple. He went to the base of the steeple on the 
inside, and cut a hole large enough for him to crawl 
through. When outside he nailed on cleats one above 
the other, ladder fashion, and began painting at the 
top, removing the cleats as he came down. He did 
the four sides in this manner. This method would 
not, of course, do on a slate or metal covered steeple. 

Step-Ladders. — Keep the step-ladders in good 
condition. Repair any defect as soon as in from a 
job. Look them up and inspect them. Screw up 
tight and tighten ropes, or replace weak ones. This 



156 THE EXPERT HOUSE PAINTER 

will save money for you, as the same work done on 
the job will take much longer time, and cost more, 
as a man has not the appliances for repairs on the job, 
and if the steps are weak or wobbly the workman 
cannot do as much work from them, being afraid of 
falls. 

How to Carry a Pair of Steps. — Teach the boy 
how to carry a pair of step-ladders. It might be 
well for the men to know how also. Many do not 
know. In going out of a doorway always pass the 
steps through first, for it is usually the top that does 
any damage by coming in contact with the door jamb. 
Keep your eye on the top of the step-ladder, clear it 
first, and the bottom may be depended upon to look 
out for itself. The same with trestles and any scaf- 
folding material. 



WHITE LEAD— ITS MANUFACTURE AND 
QUALITIES 

A brief description of white lead was given under 
the head of "Pigments Used by Painters." But a 
more extended account is given in this place, as its im- 
portance justifies. There are several white pigments 
used by painters, but of them all white lead is by far 
the most important. It is indispensable, and this can- 
not be said of any other white pigment. 

The chemist tells us that "good white lead will not 
differ materially in its composition by whatever 
process it is made, but may differ seriously in its 
physical character and in its fitness to produce a sub- 
stance adapted to the uses to which white lead is ap- 
plied." Let us see what this means. 

Good white lead may be a compound of two kinds, 
one containing two molecules of carbonate, the other 
three molecules. Or, one part of hydrate and two 
parts of carbonate of lead, or one part hydrate and 
three parts of carbonate of lead. The latter is in the 
proportion of 75% carbonate and 25% hydrate of lead, 
and this is generally accepted as the correct formula 
of a good white lead. This seems trifling, yet when 
we come to understand the subject we find that it is 
very important. The chemist tells us that the hydrate 
of lead and the linseed oil in the ground lead unite to 
form a sort of varnish, it is semi-transparent, and has 
no covering capacity. But it holds the particles of 
lead together, a very useful matter. Now, the car- 
bonate of lead and oil produce an opaque compound, 
which has no body or covering, and in which the white 

157 



158 THE EXPERT HOUSE PAINTER 

solid carbonate is held in feeble mechanical suspension. 
Neither, alone, is a paint, but united they form the 
best paint material known. Now, the proportions of 
hydrate and carbonate should never exceed or fall be- 
low these figures. Yet it will readily occur to you 
that such a variation might easily occur, doubtless does 
so occur, and we have some white lead that is not as 
satisfactory as others. 

Little needs be said about white leads made by dif- 
ferent processes. No method of making white lead 
may be considered entirely satisfactory, the ideal way 
is yet to be discovered; but we get very fair results 
from any white lead that is worthy of the name, and 
with this we must rest content. 

There are two points desirable, whiteness and fine- 
ness. Whiteness indicates perfect corrosion and the 
absence of impurities and discolorations. The whiter 
the lead the clearer the tints and whiter the white job. 
A painter will almost invariably pick out the whitest 
white lead when offered two different brands. And 
if it turns out gritty or so-called sandy, he wants no 
more of that. 

There are extremes of color to guard against, the 
blue tint and the yellow-toned lead. The blue is ar- 
tificial, and the yellow shows a burnt lead or the 
presence of foreign matter, due to poor methods of 
manufacture. 

A finely-ground white lead means more wear and 
tear of grinding machinery, and less output per hour, 
too. And it takes more oil, also, oil being a costly in- 
gredient. The grinder saves time and machinery and 
money by not grinding fine, which means also that his 
product will be thinner than it should be. He loses 
something in this matter of thin grinding, too, for it 
takes more oil, yet it pays better than the stiffer and 
finer grinding. 



WHITE LEAD— MANUFACTURE AND QUALITIES 159 

Careful grinding is required in the making of a 
good white lead. Too close grinding or friction will 
result in the graying of the product. A first-class 
white lead will show perfect whiteness, it will be 
opaque, or perfectly non-transparent, free from acid, 
free from water, and free from every foreign matter. 
Overheating of the mill will make a white lead more 
or less deficient in body, due to too great saponification 
of the lead and oil. 

In the making of white lead only the purest lead 
should be used; it must not contain more than the 
merest traces of copper, iron, zinc, bismuth, or anti- 
mony, and not an ounce of silver to the ton of lead, 
the chemist tells us. All these minerals appear in 
close association with lead. If they exist in excess of 
this very small proportion they will show in a low 
percentage of corrosion and defective color of the fin- 
ished product. 

One of the best points with white lead is, that hav- 
ing added enough linseed oil to it to overcome its 
chemical reaction, sufficient body is left to satisfac- 
torily hide the surface and afford the desired degree 
of opacity and whiteness. White lead is perfectly 
stable in pure air, and is not affected by light. In 
impure air, however, it is not permanent, being rapidly 
decomposed by even weak acids, and gradually chang- 
ing color on exposure to air containing hydrogen sul- 
phide or other sulphur compounds, turning first yellow 
and finally a dingy brown, owing to the formation of 
lead sulphide. This discoloration is less rapid in oil 
paint than in water colors, because of the oil film pro- 
tecting it ; yet the yellowing occurs in time. This dis- 
coloration is accelerated by darkness and retarded 
by sunlight. The sun, indeed, bleaches white paint 
in the open air. Thus we may take a board that 
has been painted with white oil paint and left in the 



160 THE EXPERT HOUSE PAINTER 

dark for a long time, and set it in the sunlight for 
several days, when the original white color will be 
more or less restored, this being due to the fact that 
the lead sulphide has been oxidized to lead sulphate. 
Therefore, white paint in oil does very well on ex- 
terior work, as the sun bleaches out the oil, and the 
whiteness will be more or less unimpaired, according 
to the amount of sulphur gases in the air. It is also 
best to use little or no driers in outside white paint, be- 
cause driers hasten the drying, and this is only an- 
other way of burning the paint; you know that when 
you overheat white paint it yellows or browns, ac- 
cording to the degree of heat employed. Hasty drying 
of the white paint, therefore, tends to darken it. 

White lead is easy of adulteration, and frequently 
is found adulterated. Some samples of white lead 
were found to contain absolutely no white lead at all. 
The pigment mostly used for the purpose is barytes, 
because it is most like white lead in specific gravity; 
if whiting, or similar pigment of low specific gravity 
were used, it would soon be detected. Pulp white lead 
is simply that which has been ground in water, form- 
ing a pulp that weighs 12 to 20 pounds to the gal- 
lon ; to this pulp is added the necessary amount of lin- 
seed oil ; it is then churned much as butter is churned, 
and in a little while the lead and oil will unite and 
fall to the bottom, while the water rises to the top 
and is drawn off. The lead is then packed in kegs. 
Pulp lead is not considered desirable by most painters. 
That some water remains in it seems more than likely. 

It is advised that the painter test his white lead, 
thus, for one simple way : Take a very small quantity 
of the white lead and place it in a saucer, then pour 
over it some turpentine and mix to about the con- 
sistency of cream. Pour this mixture rapidly on a 
piece of glass and allow it to drain off, when, any 



WHITE LEAD— MANUFACTURE AND QUALITIES 161 

grit being present, the same may easily be detected. 

Old white lead is usually regarded as being better 
than the freshly made. 

White lead and linseed oil mixed in almost any 
common proportions of vehicle and pigment give a 
paint which is readily workable, of good hiding power, 
and which, after application, produces an elastic paint 
film that, because of its elasticity, will resist the de- 
structive agencies of the weather better than any 
other paint. It possesses the ability to contract and 
expand in response to the seasonal temperature changes 
without either losing its tenacious grip upon the sur- 
face it is protecting or developing cracks and checking 
because of brittleness. 

Some painters contend that the addition of some 
color to white lead paint adds to its durability, but 
I think this is not true in the way they think it is. 
It is not the color or added pigment, but the fact 
that more oil is required and added. White paint ap- 
parently does not cover as well as, say, a gray, made 
by adding four ounces of lampblack to one hundred 
pounds of white lead. The gray seems to cover bet- 
ter than the white, hence we feel safe in thinning it 
out more, and in that way get more oil and greater 
durability. 

White lead becomes rather solid with age, especially 
in a wooden container, in which case the oil is largely 
absorbed by the wood, and in any case the oil rises to 
the top and leaves the heavier lead solid at the bottom. 
It is true that soft lead is easier to mix, but if very 
soft in the keg, it may be regarded as being fresh, 
and hence not as good for painting with as a lead 
having some age. 

The following is regarded as a trustworthy and 
simple commercial test of the purity of white lead: 
Take a piece of firm, close-grained charcoal, and near 



162 THE EXPERT HOUSE PAINTER 

one end of it scoop out a cavity about half an inch in 
diameter and a quarter of an inch in depth. Place 
in the cavity a sample of the lead to be tested, about 
the size of a small pea, and apply to it continuously 
the blue or hottest part of the flame of the blow pipe; 
if the sample is strictly pure it will, in a very short 
time, say, in two minutes, be reduced to metallic lead ; 
but if adulterated, even to the extent of 10 per cent, 
only with oxide of zinc, sulphate of baryta, silica, 
whiting or any other carbonate of lime (which sub- 
stances are the only adulterants used), or if it is com- 
posed entirely of these materials, as is sometimes the 
case with cheap lead (so called), it cannot be reduced, 
but remains on the charcoal an infusible mass. Dry 
white lead (carbonate of lead) is composed of metallic 
lead, oxygen, and carbonic acid, and when ground 
with linseed oil, forms the white lead of commerce. 
When it is subjected to the above treatment the oil 
is first burned off, then at a certain degree of heat, 
the oxygen and carbonic acid are set free, leaving only 
the metallic lead from which it was manufactured. 
If, however, there be present in the sample any of the 
above-mentioned adulterations, they cannot, of course, 
be reduced to metallic lead, and cannot be reduced by 
any heat of the blow-pipe flame to their own metallic 
base, and being intimately incorporated with the car- 
bonate of lead, they prevent it from being reduced. 

The Chalking of White Lead Paint 

Just why white lead chalks now, when it did not 
in former years, is a problem hard to solve. The 
matter has been thoroughly discussed, by painter and 
paint maker, also by white lead makers. Perhaps the 
trouble comes from insufficient coats or amount of 
lead used, and hurried work. For it is not disputed 
that modern house painting is not done with the care 



WHITE LEAD— MANUFACTURE AND QUALITIES 163 

and deliberation of former years, when work was less 
plenty and costs of material and labor were much less. 
The lead used, and probably the linseed oil used now, 
are as good as ever they were. It must be then that 
we are not proper workmen. 

Two-coat work is universal now, where three used 
to be the limit for average good work. We don't 
brush out paint properly, as we used to do, nor rub it 
in well. We apply two heavy coats, where we used to 
apply three medium thin coats. A well-painted house 
used to look well-painted for upwards of 15 to 20 
years ; now it needs re-painting in three years or even 
less. A white lead maker says the trouble is with the 
painter not getting enough oil in his paint. He thinks 
that by mixing the paint to the proper consistency and 
leaving it stand 48 hours, then adding more oil to it, 
we shall get the proper amount of oil in it to insure 
durability. There is no doubt that too little oil in 
white lead paint will result in poor service. Also that 
three thin coats, containing a proportionately larger 
amount of oil than heavier paint contains, will give 
better service than paint applied in heavy coats, which 
lack oil to make them thinner. Then it must be re- 
membered that the surface that is painted may absorb 
some of the oil from the first, and even from the 
second coat ; in this case chalking is sure to result. In 
fine, until the oil leaves the lead pigment chalking 
cannot occur. 

It is plain then that what is required is that paint 
intended for the first and last coat should contain 
plenty of linseed oil. 

"Unless the surface to be painted is very dark, a 
thin coat, long in oil, and a medium heavy second 
coating will give just as satisfactory a result, and far 
greater durability, as two very heavy coatings. If the 
surface is very dark, or very porous, three coats are 



164 THE EXPERT HOUSE PAINTER 

necessary, that you may get the necessary hiding 
power without sacrificing the necessary linseed oil. 

"It is strange, yet true, that, with high-class paint- 
ers, those jobs go wrong on which the painter ear- 
nestly strives to do his best work, and when, as a rule, 
no price is asked, and the cause is almost invariably 
that in trying to do his best work, he does his worst, 
inasmuch as he puts too much lead value on to his 
work, rather than too much linseed oil value. 

"Linseed oil is cheaper than white lead. Take ioo 
lbs. white lead of best grade ground in pure raw lin- 
seed oil, and which bulks 2 8/10 gals., and 5^ gals, 
of thinners, the whole amounting to 8% gals, of paint. 
Say the white lead costs $8.00 per 100 lbs., and bulk- 
ing 2 8/10 gals, as stated, the actual cost of a gallon 
of the thick white lead in oil by itself is $2.85, be- 
fore being thinned for use. Therefore, linseed oil, 
at $1.25 a gallon, costs less than half of the bulk cost 
of thick white lead in oil, and the more oil you use 
the more economical and desirable the paint." 

This is the argument of a large white lead manufac- 
turer, and while it may sound as if he would boost 
oil and put a damper on the use of white lead, yet it 
is clear, or should be, to any one, that what he wants 
to impress upon us is, that white lead will have its 
proper recognition as a paint base if it can be shown 
that chalking is not an inherent fault of the lead. 
He further argues that the fact that there is a chem- 
ical compound formed when white lead and linseed oil 
are mixed, yet the fact has little if anything to do 
with its chalking. Here it might be said that some 
chemists say that this chemical action results in soap 
making, something akin to what we see when we add 
lye to fat. Becoming soap, the paint is easily acted 
upon by the weather, and soon chalks. This our white 
lead manufacturer disputes; not that the soap does 



WHITE LEAD— MANUFACTURE AND QUALITIES 165 

not occur, but that if it were true, then "the paint 
mass would disintegrate as a whole, where as a matter 
of fact, the paint mass does not disintegrate at all." 

"The only action is, that light, heat, rain, etc., dis- 
integrate the linseed oil of the paint mass, on the 
exposed surface, and the moment the oil is gone, the 
lead becomes 'chalky.' There is nothing to bind it, 
and the above contention is proven, inasmuch as the 
remainder of the paint mass remains absolutely unaf- 
fected. 

"Of course, as successive exposures of surface are 
attacked in turn, the linseed oil becomes disintegrated 
gradually, until the oil has entirely disappeared, and 
leaving no binder to the surface to hold the lead, it 
all 'chalks' off in time, but the time required is several 
years if the proper amount of linseed oil has been 
used." 

Now, coming back to the matter of lead soap. 
White lead and linseed oil form a certain kind of 
soap, as previously stated, but this lead soap is claimed 
by our white lead man to be insoluble in water. If 
this is true, then it is not the kind of soap we are 
familiar with. Indeed, it cannot be soap at all, or, at 
most, has few attributes that are found in common 
with soaps. 

It is also said by some authorities that hydrate of 
lead, which is a component part of all Dutch process 
leads, "eats up" the oil and causes chalking, but this 
our white lead man denies, and he adds : 

"As evidenced, note the report of the fence tests, 
proving that oxysulphates of lead, made by the heat 
process, and other soft-drying paint pigments, none of 
which contain a particle of lead hydrates, show as 
great, if not greater chalking propensity than the 
hydrocarbonate of lead itself." 

Finally, and to sum up, it is probable at least that 



166 THE EXPERT HOUSE PAINTER 

if we get back to the old-time practice of using plenty 
of oil with our lead, apply thin coats and enough of 
them, getting and using good materials, we shall have 
no further difficulty with our paint made of white lead 
and oil chalking. Of course, there are many factors 
entering into the problem of good painting, such as 
present day lumber, for example, and the possibility 
of bad oil, but, with care and the getting of as good 
materials as we can, our painting will compare very 
favorably with that done two generations ago. 



OXIDE OF ZINC— ZINC WHITE 

Under the head of "Pigments Used by Painters" a 
brief description is given of the processes for making 
zinc oxides. In this place will be given more atten- 
tion to the pigment as a paint material. 

There are marked differences in the quality of zinc 
paints, just as in other products in the paint trade. 
First in importance is selection. Look to fineness of 
grinding, color, opacity, and capacity to mix readily 
with thinners. These are all properties which can 
be readily determined and compared by careful ex- 
amination of the sample alongside a previously 
selected standard. Inferior zinc paints will always 
compare unfavorably in regard to one or probably 
several of these points. Thus bad color and "gray- 
ness" may be masked by the addition of blue, a 
sophistication which can easily be detected. Again, 
inferior grades of oxide zinc are transparent, or in 
other words, possess low opacity. The addition of 
barytes as an adulterant to the paints causes the same 
fault. It should be noted in this connection that cer- 
tain zinc pigments contain barium sulphate as an es- 
sential part of their composition. This material dif- 
fers in its physical properties from the native barytes, 
so that the mere presence of barium sulphate in a 
white zinc paint does not condemn that paint, as can 
be proved by accurately determining the opacity-figure 
of pure sulphide zinc white of a reliable brand, and 
comparing it with that of white lead. To prevent 
all ambiguity on this point, however, it is preferable 
to divide zinc white paints into oxide of zinc paints 

167 



168 THE EXPERT HOUSE PAINTER 

(which should always be absolutely genuine) and sul- 
phide zinc paints (the pigment in which should contain 
not less than 30 per cent, of true zinc sulphide). 

Fineness of grinding is a point which should al- 
ways be looked closely into by the painter, as some 
paint grinders are very careless on this score. Zinc 
paints are by no means easy to grind with oil, and 
there is occasionally a temptation to gloss over any 
little imperfection in the grinding by the addition of 
pale boiled oil or an artificially prepared thickened lin- 
seed oil. The painter can always detect such dodges 
by thinning the paint out with pure turpentine and 
painting a glass slip with the mixture by means of a 
clean camel's-hair brush. 

The variations in the ease with which the different 
zinc paints "take the thinners" is remarkable. A 
well-ground sample of zinc white of good quality 
ought to be no more difficult to mix with the thinners 
than good white lead. Occasionally, however, one 
finds a zinc white paint which is stringy and ropy, 
and this is a serious defect. 

The conclusion I have come to, after examination 
of a very large number of samples of zinc paints, is 
that although paint grinders may for reasons of their 
own sometimes employ pale boiled or thickened oils 
in the grinding of white zinc paints, the painter is 
best served when his stiff paint — the base to which he 
has to add his thinners — contains no vehicle but pure, 
refined linseed oil. 

The question of the proper consistency of the stiff 
paint is so well understood on the Continent, where 
zinc paints are handled every day by painters, that on 
large contracts architects and engineers are in the 
habit of specifying the exact composition of the stiff 
paint. Thus, a certain large industrial undertaking 
in Belgium using quantities of zinc paints, has its 



OXIDE OF ZINC— ZINC WHITE 169 

ground zinc white of the following composition: 
Oxide of zinc in powder, 666 parts by weight ; linseed 
oil, 334 parts by weight. 

In another case the stiff zinc paint (oxide of zinc) 
is specified to contain 20 per cent, of linseed oil. Paint 
of this composition is readily mixed with oil or tur- 
pentine. It is a great mistake to grind zinc paints too 
stiff. If the paint is too viscous on the rollers of 
the grinding mill it is readily overheated and burned, 
and this at once ruins the paint. 

Thinning Zinc Paints. — This process is a vital 
one, and deserves special attention from those who 
wish to obtain the most satisfactory results. It is best 
carried out by mixing the thinners and driers together 
first of all, and then adding the mixture to the stiff 
paint. By proceeding in this way, uniform results 
are much more likely to be obtained. The first thing 
to do is to fix once and for all the relative proportion 
of oil and turps that should be used for different kinds 
of work. The following are proportions which have 
worked out practically and which may be adopted : 

1 2 3 

Refined linseed oil 11 pints 12 pints 4 pints 

Turpentine 3 pints 4 pints 24 pints 

Varnish 1 pint 1 pint 1 pint 

No. 1 is suitable for exterior work. The varnish 
should be a good outside varnish. For finishing coats, 
where the maximum of durability is desired, pale 
boiled oil may be substituted for refined linseed oil, 
and the proportion of turpentine reduced to two pints, 
one pint, or even less. 

No. 2 indicates a mixing suitable for a glossy fin- 
ish in interior work. Here the varnish should be a 
hard-drying interior varnish. 

No. 3 is suitable for flatting or undercoat for 



170 THE EXPERT HOUSE PAINTER 

enamel. In this case either a flat mixing varnish or 
gold size should be used. 

There are three practical points worthy of attention 
in connection with the mixing of zinc paints. They 
are': 

(i) Do not use too large a proportion of turpen- 
tine. (This does not, of course, apply to flatting.) 

(2) Keep the paint "round"; the best zinc paints 
are those that are somewhat viscous, and they brush 
out, as a rule, quite easily. 

(3) Do not try to force the drying unduly. The 
drying of all paints depends on the action of the air 
on the drying oil. Driers are therefore at the best an 
artificial aid to drying. The most durable paints are 
those in which the drying proceeds slowly, naturally 
and regularly. 

Driers for Zinc Paints. — This question is a 
vital one, and deserves special attention from those 
who wish to obtain the most satisfactory results. 
The old-fashioned paste or patent driers are most de- 
cidedly not the most satisfactory driers for zinc 
paints, and as this question is continually cropping up, 
and painters frequently find that driers are the stum- 
bling block when zinc paints are in question, I may 
be allowed to digress for a moment to indicate why 
paste driers are not, as a rule, successful in zinc 
paints. 

White lead is itself a "drier," and consequently the 
addition of more drier results in a strong drying ac- 
tion rapidly setting in. When this drying action goes 
too far, as it often does, the oil gets burnt up and 
the paint powders and perishes. This phenomenon is 
often seen in old white lead paint. Now in the case 
of zinc white paints, which are absolutely inert so 
far as drying action is concerned, the drier (what- 
ever it be) must first be brought into solution in the 



OXIDE OF ZINC— ZINC WHITE 171 

oil before it can exert any drying action. Paste driers 
in which the drying material is mainly in the solid 
state, take some time to dissolve in the oil contained 
in the mixed paint, and there being nothing present 
of a gentle drying nature, like white lead, to start 
the drying off, so to speak, the action takes some time 
to begin. This constitutes a danger, as the ignorant 
man then adds more driers, until there is a huge ex- 
cess of drying matter present, resulting in serious 
damage to the life of the paint. 

The use of liquid driers is preferable. In these 
driers the drying matter is already in the liquid state, 
and is therefore in a condition in which it can much 
more quickly and effectively enable the drying process 
to commence. Further, liquid driers, when of good 
quality and used in strict moderation, contain noth- 
ing injurious to the paint. The true role of a paint 
drier is often misunderstood. It is to start the ab- 
sorption of oxygen by the drying oil, and to keep 
the absorption going regularly and moderately. If 
this is done, a tough, durable film is obtained. Nature 
has been assisted to do her work. If too much drier 
has been used the oil will have been superoxidized, 
with the result that a. brittle, easily-destroyed oil film 
has been produced. 

Mixing and Application. — To secure the full in- 
trinsic value of zinc oxide paint it should be applied 
exactly as a good painter would do it, namely, in 
two or three or more coats, for it is a pigment that 
does not permit of making one coat do the work of 
two. 

Zinc paint should be mixed rather stout but be rub- 
Bed out thin; if mixed thin it will run and not cover 
properly. Properly mixed, it has been found that 
three coats will cover as much surface as three coats of 
white lead paint, and cover the surface just as well. 



172 THE EXPERT HOUSE PAINTER 

In mixing zinc paint there should be used a suitably- 
prepared linseed oil, and should contain very little tur- 
pentine. Being a poor drier, it should be well as- 
sisted with driers. The addition of a little varnish in 
outside zinc paint is advised. 

When used for making a flat or dead finish, it must 
be remembered that zinc white ground in oil contains 
a larger percentage of oil than white lead, as it takes 
up much more. This oil must be removed with 
washes of benzine, in the usual manner; after which 
the pasty residue may be mixed with turpentine and a 
good flat paint result. Zinc white contains about 20 
per cent, oil in the paste form, while white lead con- 
tains only about 8 per cent. 

Some painters advocate zinc for priming coats on 
wood, but this may seriously be combated, white lead 
being in every respect the best pigment material for 
that purpose. 

The priming coat being white lead, then let the 
next two, say, be zinc and lead paint. Or three coats 
of zinc may be used, according to the quality of the 
work. Let each coat be mixed somewhat different 
from its neighbor coat. Do this by varying the 
quantity of oil, etc. This is the rule in all good 
painting. 

Pale boiled linseed oil is a good medium for thin- 
ning white zinc paints, but boiled oil is always difficult 
of admixture with zinc, when the mixing is done with 
a paddle; with machinery, as in the paint factory, 
the case is different. Yet if a pale drying oil can 
be used for thinning zinc paint it will be found very 
much better than ordinary raw oil. 

For many purposes the oxide of zinc as ground al- 
ready contains sufficient oil, and only needs to be 
thinned down to the proper consistency with turpen- 
tine. 



OXIDE OF ZINC— ZINC WHITE 173 

For painting on a non-porous surface, like iron, 
for instance, no oil need be added, and a beautiful 
white enamel surface will ensue, with an egg-shell 
gloss. The 20 per cent, of oil in the zinc paste will 
be quite enough to give this effect. Most of the 
troubles with paint come from bad oil, which is the 
most important factor of the two, oil and base. 

Out of the mass of controversial matter respecting 
the merits of white lead and zinc for exterior paint- 
ing it is well to avoid extremes in either direction. 
A combination of these two important pigments has 
proven its worth, consisting of three parts of pure 
white lead in oil and one part zinc. In this propor- 
tion the zinc holds the lead from chalking and the lead 
holds the zinc from chipping and Assuring. Mix the 
pigments separately in the proper liquids, and at the 
right consistency pour together and stir until a com- 
plete incorporation of the two bodies is obtained. 
Used in coats, above the priming, this combination 
is rewarding the user with very durable results in 
both eastern and western sections of the country. 

Footnotes on Zinc White 

The presence of a yellow tint indicates traces of 
cadmium sulphide. 

Zinc white should be kept in zinc tins or in tinned 
iron vessels. 

Don't cover with water, which hardens the zinc; 
cover with oil only. 

Pure zinc white has great spreading capacity, but 
poor covering power. 

Zinc white is prepared from the pure metal zinc, 
this being the best; it is also prepared from zinc ore, 
which is the kind mostly used by our painters. 

To test zinc white for purity take it dry and heat 
it; when cool it should be of original whiteness. 



174 THE EXPERT HOUSE PAINTER 

Boiled in dilute muriatic acid it should dissolve com- 
pletely without effervescence. 

To test zinc white ground in oil wash out the oil 
with gasoline, dry the pigment, then test as above. 

Leaded zinc white contains some lead sulphate. 
The lead is not added direct but is due to the method 
of production. In small amount the lead does not 
injure the quality, but rather tends to improve it. 

The lower grades of zinc white have poorer cover- 
ing capacity than the best grade. 

Zinc white is easily adulterated, much more so than 
white lead, so as to escape detection. This is why 
some zinc whites are not satisfactory. 

Sulphureted hydrogen, if it has any action on 
zinc white at all, does not injure it, nor when it is 
tinted, at least not to any appreciable extent. If 
sulphureted hydrogen affects the zinc at all it is merely 
to form zinc sulphide, which is itself white. 

Zinc white being an artificial product, its composition 
varies, the best grades approximating 10% zinc oxide, 
while some of the cheaper products contain more or 
less lead compounds, either as sulphates or oxides, and 
possibly sulphate of zinc, which is considered harmful, 
as it is soluble in water and is liable to make paint 
streak. It is said that zinc oxide is rarely adul- 
terated. 

To make a lead and zinc compound paint do not 
mix the two together, but in separate pots, then box 
the two together. 

Zinc white paint must not be mixed thin, owing to 
its lack of body ; mix rather stiffish. 

For exterior painting mix with pale boiled oil, and 
use rather stouter than you would white lead. But 
either inside or outside this stout paint should be 
rubbed out some, enough to cover well. 

By mixing the paint the day before using it will 



OXIDE OF ZINC— ZINC WHITE 175 

be found to work easier under the brush and cover 
better. 

The putty used on zinc-white work should be made 
from zinc and whiting, first passing the whiting 
through a sieve to remove particles. 



PIGMENTS USED BY PAINTERS 

Purity of tone is the first important quality of a 
pigment, and fineness of grinding next in importance. 
For comparison it is well to have tubes of artists' 
colors on hand, for these are the very best that can 
be produced. Compare for purity of tone, fineness 
of grinding, and for tinting strength. By rubbing 
some of the pigment between the thumb and finger 
or placing some on the thumb nail and rubbing it with 
the other thumb nail any grit may easily be detected, 
and grit would prove coarse grinding. Or place some 
pigment on a piece of glass and rub it with another 
piece of glass. Or rub some with the spatula. Hold 
the glass up to the light and see whether the pigment 
has made scratches. 

For tinting strength mix a little of the color with 
zinc white; observe depth and clearness of tint given. 
Test dry color for fineness of grinding and presence 
of make-weights by placing in a tube with 2/3 water 
and shake; pour off the water before the pigment 
has entirely settled; repeat until the residue has been 
obtained. Allow this to dry, then examine for granu- 
lar impurities. 

Umber. — The best grade is Turkey umber, and it 
has a warm, violet-brown color, inferior umbers hav- 
ing a rather yellowish tone. Raw umber is greatly 
improved in color by being calcined. Raw umber is 
little used by painters, but the burnt umber is much 
used, for, with lead or zinc-white, it gives very pleas- 
ing shades ; alone, it is useful in stains and for grain- 

176 



PIGMENTS USED BY PAINTERS 177 

ing purposes. Used as a body color it is very liable 
to fade or grow rusty-looking. 

Umber is a transparent color, which makes it so 
desirable for staining, glazing and graining. An imi- 
tation umber can be made by properly mixing red, 
yellow and black, but it would not be transparent, 
though for many purposes it would do very well. 

Vandyke Brown. — This is an earth pigment, prob- 
ably the result of the decomposition of lignite or brown 
coal. It is blackish-brown in color, smooth and very 
light. It is also a very durable pigment, quite trans- 
parent, but of little use to the house painter. But 
it is useful in graining. With lead or zinc-white it 
gives muddy tones. There are several varieties of 
Vandyke brown, all stable pigments, and neutral with 
other pigments. 

Yellow Ocher. — The best grade is that known as 
French yellow ocher. Compare some French ocher 
with American ocher, and you will perceive quite a 
difference of tone, the former being yellow, the latter 
reddish. And though inferior to the French, the 
American ocher of the best grade has three times the 
tinting strength of the French ; mixed with white lead 
it gives a dull tone, the French a clear, bright tone. 
The chief difference between the two ochers is that 
the French has a silicate base, and the American a 
clay base ; as clay absorbs water readily it will be seen 
that the ocher having it as a base will not answer 
well as a paint. When used for priming the clay 
ocher absorbs moisture and the paint comes off. 

The best brands of French ocher are valued accord- 
ing to their uniform bright yellow color. The U. S. 
Government requires in its specifications for French 
ocher at least 20% of iron oxide, and not more than 
5% of lime in any form. The different brands of 
French ocher are designated by certain letters, which 



178 THE EXPERT HOUSE PAINTER 

signify their color tone, etc. Thus, J, yellow ; F, dark ; 
L, levigated; S, superfine; E, extra, or superior, and 
C, pale or light. So, for instance, J. F. S. means 
yellow dark levigated extra superfine. J. F. means 
dark yellow. J. T. L. means dark yellow washed 
ocher. J. C. L. S. means citron yellow washed super- 
fine. J. O. L. S. means yellow golden washed super- 
fine, the O standing for gold, and all the letters are 
the first in the French name for the color or condition. 
Thus R is from rouge, red. R. L. S. means dark red 
washed superfine. 

Golden Ocher. — There is a golden ocher made 
from yellow ocher and chrome yellow, but this is not 
the true golden ocher, which is made in the factory 
from a formula as follows : 

Barytes 550 lbs. 

Best American ocher 230 lbs. 

Nitrate of lead 29 lbs. 

Bichromate of potash 15 lbs. 

Glauber salts 15 lbs. 

Sal soda 6 lbs. 

This formula produces an ordinary lead chrome 
thrown down on a base consisting of barytes and 
ocher. The process is given here that the painter 
may have an intelligent idea of what golden ocher is. 

Sienna. — Properly speaking, sienna is simply a 
yellow ocher of a deeper or browner color. Some 
writers class both under the head of ocher. They 
consist essentially of an earthy base colored by oxide 
of iron, or maganese, or both. A good grade of 
sienna should show very little grit under the palette 
knife, and it should have good tinting strength, which 
may easily be tested by coloring some white lead with 
it. It is a transparent color, or should be, at its best, 
and this may be tested by using it as a glaze over some 
graining ground. Raw sienna is much lighter of color 



PIGMENTS USED BY PAINTERS 179 

than the calcined or burnt sienna, the latter being quite 
red. Both raw and burnt are very useful to the 
painter and grainer. The raw with white lead makes 
a good graining ground for oak, and also for making 
the oak graining color, with the addition of a little 
black or burnt umber. The burnt sienna makes a fine 
stain for cherry, etc., and for graining color. The 
Italian sienna is the best. 

Yellow. — The most important yellow used by the 
house painter is chrome yellow, or chromate of lead. 
There are several shades, ranging from a pale lemon 
yellow to a decidedly red-orange. The lighter shades 
usually contain some lead sulphate, as well as lead 
chromate, while the deep orange yellow contains some 
basic lead chromate. Pure chrome yellow should 
contain only lead chromate, lead sulphate, and possibly 
some basic lead in the deeper shades. A chrome yel- 
low should be considered adulterated if it contains 
anything besides insoluble lead compounds. 

Chrome yellow is often adulterated with barytes or 
whiting, as well as with lead sulphate. No matter 
how made, pure chrome yellow always has an orange- 
yellow color. But color makers produce several 
shades, from the orange to the pale yellow, or the so- 
called lemon yellow, the light colors being impure, of 
course. 

Zinc Chrome Yellow. — This yellow is costlier 
than lead chrome, but is very useful in some cases 
where lead chrome cannot be used at all. It is proof 
against sulphur, which lead is not. While it is in- 
ferior in coloring strength to lead chrome, it is more 
permanent to the light ; is also non-poisonous. 

While lead chromes vary in color, it is practically 
impossible to produce any variation of color in zinc 
chrome. 

Genuine Vermilion. — This term can only be ap- 



180 THE EXPERT HOUSE PAINTER 

plied to the red sulphide of mercury, whose chemical 
symbol is HgS. Although the source or origin of the 
pigment may vary, true vermilion is invariably of this 
composition. Thus, there are the English, the French 
and the Chinese vermilions, and these may be made 
by the dry or the wet process; the composition is ever 
the same. English vermilion is a sulphide of mer- 
cury. It and the French and Chinese vermilions are 
made on this formula : 200 parts by weight of mer- 
cury or quicksilver and 32 parts by weight of sulphur, 
the chemical combination being sulphide of mercury. 

Chinese vermilion is rather finer than the other 
kinds. All true vermilions should have good body, 
and should cover well. But unfortunately these ver- 
milions are not fast against the light, in time altering 
to a dirty brown. They show no bleeding on boiling 
with alcohol and water, and no free sulphur by ex- 
traction with carbon disulphide. A small quantity 
mixed with four or five times its weight of dry car- 
bonate of soda and heated in a tube should show 
globules of mercury on the cooler portions of the 
globe. The best test is for purity of the ash, which 
should not be more than one-half of one per cent. 

American Vermilion. — A lead chromate base ver- 
milion, quite permanent but a poor coverer. Usually 
tinted with aniline. An aniline vermilion may easily 
be detected by placing some of the dry pigment in the 
palm of the hand and note whether it leaves a pink 
stain. This stain is not easily washed off with water, 
while the reverse is true respecting true vermilion. 
Eosine vermilions are simply red lead, barytes, or whit- 
ing, some of these being used with red lead. The 
Para reds have displaced the more fugitive aniline or 
eosine dye, and these are quite permanent, cheap, and 
cover well, though not as well as the eosines. The 
Para reds may be classed as follows : Those contain- 



PIGMENTS USED BY PAINTERS 181 

ing barytes and zinc base, those containing red lead, 
and the Para red lakes, containing alumina, whiting, 
etc. 

Organic lakes are now largely used in place of the 
true vermilion, and in making certain red colors. 

Light Red. — This is simply calcined yellow ocher; 
it is red, permanent, and a good drying pigment. 

Indian Red. — Pure Indian red consists of iron 
oxide almost entirely. It is one of the best covering 
reds we have. 

Tuscan Red. — This is Indian red toned with rose 
pink or aniline. It loses its rich color in time, hence 
is undesirable unless protected with varnish, as on 
railway cars. Tuscan red may be adulterated as much 
as 64% and pass undetected. 

Genuine Tuscan red is made by calcining iron oxide 
to a purple shade, the so-called Indian red; this is 
then toned up with alizarine lake, washed, dried, 
ground, bolted, etc., and then is ready for grinding in 
oil. 

Imitation Tuscan red is composed of a cheap base, 
such as whiting or gypsum, and dyed with aniline. 

Venetian Red. — This is an iron oxide and lime- 
base pigment. The Government specifies at least 
40% sesquioxide of iron, and not more than 15% of 
silica, and the remainder of lime rendered incapable 
of taking up water of crystallization. The best 
grades contain sulphate of lime, and the cheaper grades 
carbonate of lime. The more iron oxide present the 
stronger the color, and, if finely ground, the greater 
the covering capacity. The Venetian reds are not 
much affected by the weather, but sometimes fade 
when an excess of lime carbonate (whiting) has been 
used in the making. The effect of sulphur fumes, 
smoke, etc., is to darken these reds. The best 
Venetian red is that made upon a gypsum base. A 



182 THE EXPERT HOUSE PAINTER 

dry Venetian red that looks bright but dulls when 
mixed with oil may be classed as poor. Test in oil 
before buying. 

Prussian Blue. — Under this name are included 
all ferrocyanide blues, such as Antwerp, Chinese, 
Turnbull's, etc. These blues are all ferric ferro- 
cyanides, or double iron potassium salts of hydro- 
ferro-cyanic or hydroferri-cyanic acids. Prussian 
blue is obtained from sulphate of iron and sulphuric 
acid in solution, and yellow prussiate of potash in solu- 
tion. It is an extremely strong color, and hence valu- 
able in tinting or coloring. It is too transparent to 
use much as a body color, but it is permanent, though 
with a slight tendency to fade if exposed to strong 
light too long. Its covering power is defective, due 
to its transparency. Lime and alkali affect it, giving 
it a rusty appearance, while acids deepen its color. 
Mixed with zinc-white it forms a fine color and covers 
much better. 

While these blues of the ferro-cyanide order would 
all analyze the same chemically, there is a physical dif- 
ference in them. Prussian blue, proper, when mixed 
with the white pigments, produces a light blue shade, 
slightly purplish and grayish, while the Chinese, etc., 
blues of the same order give a clearer and truer shade 
of blue. There is also a difference of coloring power. 

To the house painter Prussian blue is most useful 
when slightly adulterated. Ground in oil, it is apt to 
liver, hence should be ground in a special oil. It is a 
poor drier and exerts a retarding action on drying-oils. 
Fortunately it takes very little of this pigment to pro- 
duce tints. 

Celestial blue and Brunswick blue are adulterated 
or reduced qualities of Prussian blue; frequently they 
contain but 5% to 12% of Prussian blue. If barytes 
be taken and on it be struck Prussian blue to the extent 



PIGMENTS USED BY PAINTERS 1£3 

of l2y 2 % of the total weight of pigment a product 
will be obtained which, ground in oil, gives an exceed- 
ingly intense dark "Royal" blue. When so reduced 
the blues should be sold for what they are. 

Ultramarine Blue. — This is a compound of un- 
known constitution, being made by heating clay, soda, 
sulphur, and charcoal together. It appears to be a 
complete silicate of aluminum and sodium. On ac- 
count of the sulphide present it cannot be used with 
lead pigments. It is little used by the house painter, 
because by itself it is too bright a blue, and it does not 
give as clear a tint or light shade of blue on a white 
base as the Milori and Chinese blues. Good ultra- 
marine blue gives little tarnish on polished copper. 
It may be told from Prussian blue by being dissolved 
in hydrochloric acid with the evolution of hydrogen 
sulphide. 

Lime Blue. — This is simply a common grade of 
ultramarine blue, and is not to be used for tinting, as 
its color is coarse and not reliable. Ultramarine blue 
is not affected by alkali, lime, etc., as Prussian blue is, 
hence is useful for coloring whiting or lime coatings; 
hence the cheaper form, "Lime Blue." But sulphur 
affects ultramarine blue. 

Chinese Blue. — A variety of Prussian blue, but 
has a much clearer tone and better keeping qualities. 
It is simply a superior grade of the Prussian blue. 
Any Prussian blue made from cheap grades of prus- 
siate of potash will have a dingy color; hence a good 
test is clearness of color tone. 

Chrome Green. — A pure chrome green should con- 
tain only Prussian blue, lead chromate, and lead sul- 
phate. Greens made by precipitating the ingredients 
together are superior to those made by mixing the blue 
and yellow after they are precipitated separately. To 
distinguish the two rub some of the pigment in oil and 



184 THE EXPERT HOUSE PAINTER 

let it stand. A badly made green will show blue, but 
one properly made will not. Under the microscope a 
poor green, dry, will show blue and yellow particles, 
as well as green. A well made green will show green 
and some blue particles, but no yellow. There is also 
a green made from ultramarine blue and zinc. If 
absolute permanence is required chromium oxide is 
sometimes used, but this pigment is not common. The 
very brilliant arsenic or copper compounds, Paris 
green, for instance, are very little used in paints. 

For body work, or where the green is used by itself, 
greens containing from 70 to 95% of adulteration may 
be used, the covering power being little impaired, even 
when the amount of adulteration is up to 80%. China 
clay, barytes, and terra alba are the usual adulterants. 
The same may be said of Paris and ultramarine greens. 
They stand the light well, but are affected by lime, 
which turns the green a rusty orange color. 

Paris Green, or Emerald Green. — Once much in 
use for painting Venetian blinds, etc. Being ex- 
tremely poisonous, chrome green was made to take its 
place. It is sometimes added to chrome green to en- 
liven the latter. But Paris or Emerald green has very 
poor covering power. 

Ultramarine Green. — This is very seldom used 
by the house painter, though much used by the in- 
terior decorator or fresco artist. It is a very trans- 
parent color. 

Lampblack. — Black pigments are practically all 
carbon blacks, in one form or another. Lampblack is 
a finely divided carbon, obtained by collecting the 
smoke produced by burning oils, with the admittance 
of air sufficiently reduced to prevent perfect combus- 
tion, the object being to consume all constituents of 
the burning body but the carbon, and to preserve as 
much of that as possible. 



PIGMENTS USED BY PAINTERS 185 

Natural gas lampblack is free from mineral im- 
purities and unburned oil, and has a full black color. 
It is a very fine and durable black pigment. 

Pure lampblack is a permanent color, and very 
durable. Will last longer in the weather, against heat 
or cold, rain or shine, than any other pigment or com- 
bination of pigments. It is a very slow drier, yet 
dries within a reasonable time. The addition of a 
little Prussian blue helps its drying and does not affect 
its tone. In fact, will make it blacker. It is nat- 
urally so fine that grinding makes it no finer. It is 
sometimes added to other blacks to improve fineness 
and durability. 

Blacks, alike chemically, may behave very differently 
when ground in thin varnish. For example, lamp- 
black mixed with such a varnish in a ratio of 20 to 
100 has flow, while gas black, similarly treated, has no 
flow. 

The blacks are often adulterated; lampblack will 
stand as much as 50% adulteration with whiting or 
barytes and yet look black. For tinting purposes such 
a lampblack answers better than the pure grade, but 
the price should be much lower. 

As a rule the lighter and bulkier the lampblack 
(that is to say, the smaller the amount that can be 
packed in a given space) the greater the amount of oil 
it will absorb, and the greater its tinting strength, re- 
gardless of tone, pound for pound. Two dry blacks 
of equal strength, one requiring the most oil in grind- 
ing, will show a good test. The one requiring the 
most oil will produce the weakest color in oil, while 
a more expensive and stronger black, absorbing a 
larger amount of oil, may produce a paste both 
stronger and cheaper. Thus we see that there is more 
in the selection of lampblack than mere strength alone. 

To test lampblack place some on a tin lid and hold 



186 THE EXPERT HOUSE PAINTER 

it over a flame for a few minutes, when the remain- 
ing powder will show all the characteristics of lamp- 
black, namely, a powder perfectly smooth under the 
palette knife, and black in color. Pure gas black after 
burning will show a slightly gritty residue, of a brown- 
ish-black shade, caused by the drying material ground 
with it. With an adulteration of 50% barytes lamp- 
black will show a residue of white, with streaks of 
uncalcined lampblack. Gas black with 50% whiting 
will show a residue of dirty white color, with brown- 
black streaks of uncalcined material. 

Drop Black. — Ivory drop black should be made 
from calcined ivory, but seldom is. It has a rich, vel- 
vety black color, while bone black has a reddish cast. 
Bone black is called ivory black. The name "drop" 
comes from the manner of making it ; the dry powder 
is mixed with a little glue size and is allowed to fall 
in the form of cone-shaped drops, which are then dried 
and sold to color grinders. Pure ivory drop black will 
resist sunlight better than any other black excepting, 
perhaps, lampblack. It is considered to be one of the 
most permanent of the blacks. In making tints of 
gray with black, remember that lampblack and drop 
black make different tints, the latter making a softer 
tint, the former a colder gray. A little burnt umber 
is good in making a gray tint with black. 

Inert Pigments. — When oil is mixed with the 
chemical pigments, such as lead, zinc, yellow chrome, 
Prussian blue, etc., there is a chemical union, and 
chemical reactions occur between the oil and the pig- 
ment, to the injury of the paint. 

When the earth pigments, the ochers, siennas, um- 
bers, etc., are mixed with oil there is a mechanical 
union, like the mixing of sand and water; there is 
no chemical union or reaction. Hence we call such 
pigments inert, and to this class belong barytes, silica, 



PIGMENTS USED BY PAINTERS 187 

terra alba, etc. When inert pigments are added to 
chemical pigments there is an absence of chemical 
reaction, to a very large extent, at least. The vari- 
ous substances used as inert additions to paint are 
barytes, whiting, gypsum, kaolin, pulverized silica, 
soapstone and ground feldspar. Gypsum is probably 
the best to use with pigments. It is of great durabil- 
ity, chemically inactive as a pigment, of low specific 
gravity, and can easily be ground and incorporated 
with pigments or paints, and does not settle rapidly 
in the paint pot. But should water get into the paint 
mixed with gypsum it is apt to liver up. 

Zinc White or Zinc Oxide. — There are two meth- 
ods of making this excellent pigment, the French and 
the American. Briefly the former consists in prepar- 
ing it from the pure zinc metal known as spelter; the 
other way is to treat the ore. The French process 
naturally gives the finer article, one that is of the ut- 
most whiteness; the American process zinc white is 
somewhat harsher of texture and not so white. 
Chinese white is only another name for the French 
process zinc white. French zinc is particularly use- 
ful for the artist and the interior decorator, while the 
American process zinc white is very good for outside 
painting. Some Western brands of zinc white con- 
tain a small percentage of lead sulphate, but this is 
not considered to be in any way harmful to a paint 
made from it, either for exterior or interior work. 

Chremnitz, Chinese and Florence White. — 
The first named white is the best selected white lead 
ground in damar varnish. Chinese white is a fancy 
name for zinc oxide white. Florence white, sold in 
paste and liquid form, is French process zinc white, 
ground in damar varnish. 

Lithopone. — A white powder resembling zinc 
ijvhite in appearance, but of heavier gravity and not 



188 THE EXPERT HOUSE PAINTER 

as great an absorber of oil. There are several grades, 
sold as red, white, blue, green and yellow seal. The 
green seal brand is regarded as being the best ; it con- 
sists of zinc sulphide, 30 per cent.; zinc oxide, 2 per 
cent., and barytes, 68 per cent. The other grades 
range from 26 per cent, zinc sulphide to about 14 
per cent. If you will drop a little diluted hydrochloric 
acid on some zinc white there will be no result. But 
drop it on lithopone and you get the odor of a burning 
match, or sulphureted hydrogen. It will also effer- 
vesce. Lithopone has good covering power, spreading 
well, but is not to be used in connection with white 
lead, which it discolors. Of itself it is a very per- 
manent pigment, being unaffected by sulphur gases or 
other gases that are baneful to many other pigments. 
Its greatest use as regards house painting is in wall 
paints, a subject treated in full in another part of this 
work. It has long been used as a paint by oil cloth 
makers. 

White Lead. — Corroded lead, basic lead carbonate. 
May be made by several different methods. Is an 
amorphous white powder, with little affinity for lin- 
seed oil, an elastic base, and the best for all general 
paint purposes. Should be white, fine, and of good 
covering power. A yellow tone indicates overheating 
while grinding. Of a pink cast, contains some red 
lead. A grayish tone indicates the presence of uncor- 
roded lead. 

Sublimed Lead or Basic Lead Sulphate. — It is 
made by burning lead ore that contains some zinc and 
which cannot be entirely removed. There is found 
usually about 90 per cent, lead sulphate and 10 per 
cent, zinc oxide in its average composition. It has 
a harsh texture, and is not as elastic as the best white 
lead, nor has it as good a covering power. It does 
not flow well under the brush, nor make a nice, level 



PIGMENTS USED BY PAINTERS 189 

surface. Exposed to sulphur gases, it will not darken 
as white lead does. The addition of a small percent- 
age of Paris whiting is said to greatly improve its 
texture. In fine, it has so many objectionable quali- 
ties that it cannot be said that it is a useful pigment 
for the house painter. It does not present any ad- 
vantages that white lead does not offer, while its 
merits are few. Under the blow pipe it is difficult of 
reduction and can only be reduced when fused with 
powdered borax, and even then with difficulty. Its 
critics say of it that it lacks body, becomes brittle, 
and cracks. 

Zinc Lead. — This rather modern paint base, used 
mostly by paint manufacturers, is composed of about 
equal parts of lead sulphate and zinc oxide, and is 
derived from an ore containing lead and zinc. The 
method of making this pigment is similar to that em- 
ployed in making sublimed lead. Possessing a good 
body, yet it does not work as well under the brush 
as a mixture of lead and zinc in equal parts. It has 
a harsh texture, more than that of sublimed lead, and 
its color is poor. It, however, carries more oil than 
either white lead or sublimed lead, by about 20 per 
cent. Used by itself on exterior work, it shows a ten- 
dency to crack. 

Sulphate of lead, largely used in some ready made 
paints, lacks covering power, a fault that may be over- 
come by the addition of borax, it is said. Lead sul- 
phate is not poisonous, nor is borax. 

Steatite. — The mineral steatite is better known 
to the public as soapstone, talc or talcum. It is a 
composition of magnesium oxide and silica, combined 
with a certain percentage of water. Most people are 
familiar with the substance, and will recall its soapy 
feel. But there are several varieties, and several 
colors, such as white, cream, gray and pale apple green. 



190 THE EXPERT HOUSE PAINTER 

To the variety which is scientifically described as 
foliaceous, or micaceous, is given the name of talc. 
To the compact, cryptocrystalline to coarsely granu- 
lar forms is given the name steatic. To the dark 
gray and greenish talcose rocks, which are soft enough 
to be cut by a knife, and which have the peculiar soapy 
feel, is given the name soapstone. The pure creamy 
white talc is used for making crayons and slate pen- 
cils. French chalk, used by tailors, and often men- 
tioned by sign painters as useful for outlining letters 
on glass, is a very fine talc, obtained from abroad; 
most, if not all of what we use, being quarried in our 
own country. The fibrous and granular talcs are 
used for a number of purposes. One very near rela- 
tion of talc is meerschaum, the chemical formulas of 
the two being very alike, both being composed of 
magnesium oxide and silica, with a little water. 
Soapstone in powdered form is used in quite a num- 
ber of special paints, but is too transparent in oil to 
be used as a base. Its chief value lies in its property 
of giving a glaze or polish to a painted surface, to its 
fireproof character, and its voluminous nature. 

Whiting. — Whiting is made from natural chalk 
rock, which is crushed to a coarse powder, then is 
ground under water to a fine pulp, after which it is 
ground in another kind of mill, and made into a moist 
cream. Then the cream is run into a large tank of 
water, where it is stirred, and after a time it is al- 
lowed to settle, the coarser parts going to the bottom, 
and the liquid part is drawn off into another tank, 
from whence it is run into a still smaller tank, each 
time losing something of its coarseness. This wash- 
ing process is called "levigation." By this system of 
"floating" the whiting in water the last tank will con- 
tain the finest whiting, and the different tanks will 
yield different grades of whiting. The whiting is now 



PIGMENTS USED BY PAINTERS 191 

taken from the tanks in a moist mass and dried in a 
"stove room." The whiting may be sold in this lump 
form. When molded in cylinder form it is called 
Spanish white. This hard lump whiting must be 
ground in mills before it is fit for the decorator's use 
— ground, then sifted through what is called "bolting 
cloth," a fine-meshed textile material used also by 
millers of flour. The resultant whiting is known as 
bolted whiting. But much of the "bolted" whiting 
on the market is really "air floated" whiting, a much 
finer substance. 

When the whiting settles in the tanks the coarsest 
part goes to the bottom, the next coarsest part forms 
a layer upon the first, and so on, the top layer being 
the lightest and finest. This top layer is known as 
Paris white, the layer below is called "gilders' whit- 
ing," and the bottom layer is sold as "commercial" 
whiting, it being used mostly in the manufacture of 
putty. 

The name of whiting in chemistry is calcium car- 
bonate, meaning carbonate of lime. 

While whiting is usually classed among the inert 
pigments by paint men, yet it is well known as a form 
of lime; being a carbonate of lime, it must form a lime 
soap by reason of a chemical reaction between it and 
the oil in paint. Such a paint, that is, whiting in oil, 
or a paint in which whiting may largely figure, can- 
not be considered a durable one. Yet we have the 
evidence of great durability in the well-known form 
of putty, which, when properly made, becomes hard 
as stone, and does not soon decay. Also we know 
that a white paint containing some whiting with lead, 
was formerly used for years, and with the best re- 
sults, on river boats. At any rate, whiting is one of 
the most indispensable materials we use. 

The different grades of whiting vary in weight, the 



192 THE EXPERT HOUSE PAINTER 

best being finest of texture, weigh less, or are bulkier. 
Thus, a gallon of precipitated chalk, the finest form of 
chalk or whiting, weighs a little less than 3 lbs., while 
a gallon of Paris white weighs a little more than 7 lbs. 
A gallon of gilders' bolted whiting weighs nearly 6 lbs. 

Barytes. — Certainly if ever paint makers get to 
worshiping graven images they should carve them 
out of the mineral barytes, for it has been their most 
useful agent in connection with the manufacture of 
paint and colors. Not that the use thereof has al- 
ways been wrong, for as an extender or necessary 
filler, barytes has its use. But many a ton of it, cost- 
ing, say, $20 a ton, has gone into paint shops at any- 
where from $100 a ton upwards, in the form of so- 
called white lead, paint and colors. To-day compara- 
tively little of this shameful adulteration is done, and 
when barytes is used in paints or color, some excuse 
is generally made for its presence. That it is a valu- 
able addition in many cases there can be no doubt, 
but as an adulterant it is always wrong. 

Given two samples of a white powder, one of which 
is dry white lead, the other dry barytes, and asked 
to tell the two apart, you could not do it; they are 
equally white, equally fine, equally heavy. But rub 
up some of each in oil, and at once the difference is 
apparent, the white lead continuing white, the barytes 
looking like putty. 

Being exceedingly fine of texture, free from color, 
and inert, it has paint virtues of a high order. It 
takes stains uniformly, and to make a small quantity 
of color, aniline, for instance, cover much surface, it 
is very useful ; it is, in consequence, used as a base for 
conveying many organic coloring matters that are used 
in paints. 

In the paint shop barytes has no place, whiting be- 
ing the more useful inert material to the painter. 



DRIERS USED IN LINSEED OIL PAINTS 

Driers for linseed oil may be conveniently divided 
into two classes, oil driers and resin driers. The lat- 
ter are commonly known as japans. Of the two classes 
there are numerous varieties, differing in color, con- 
sistency, and ability to dry linseed oil. The function 
of a drier in an oil paint is to absorb oxygen rapidly 
and convert the film into a hard, insoluble product. 
The linseed oil during this process is changed into 
linoxyn. However, the action of the drier does not 
stop here, but continues its oxidation until the paint 
film is eventually destroyed. 

Oil driers are made in this manner: A certain 
amount of linseed oil is put into a kettle and heated. 
Drying salts are added, usually salts of lead and man- 
ganese, and the oil run up about 500 F. In running 
the oil up to this temperature it gathers considerable 
head and must be whipped down. The temperature 
is allowed to drop, and turpentine, or a mixture of 
turpentine and benzine, added. 

Resin driers are made in much the same manner, 
except that resin is used in place of linseed oil. 

Of these two classes oil driers are to be preferred, 
because they exert a less harmful action on the paint 
film. 

The drying salts used in the manufacture of driers 
are quite numerous, but those which find the widest 
application are salts of lead, manganese and cobalt. 
Only recently have cobalt salts come into favor, and 
it is claimed they are less harmful in their action. 

193 



194 THE EXPERT HOUSE PAINTER 

They affect the color of the oil only slightly. We 
must not overlook the properties of the thinning me- 
dium as a drier. When turpentine alone is used, it 
adds to the drying power, but when benzine is used 
it exerts no such influence. 

Temperature and humidity are important factors in 
influencing the rate of drying. As a general rule, the 
higher the temperature the more rapid is the drying, 
and the lower the temperature, the slower the drying. 
Humidity seems to exert less influence than temper- 
ature. 

Some pigments influence the rate of drying quite 
considerably. Thus, lampblack dries very slowly. 
This effect has been attributed to oil which it con- 
tains, but tests made from lampblack containing ab- 
solutely no oil give the same results. I am inclined 
to believe that this phenomenon is due to the physical 
properties of lampblack, and that owing to its ex- 
treme fineness a lampblack film cannot breathe with 
the same facility as an ordinary film. We know that 
a paint film made from linseed oil and lampblack is 
very durable, and this durability is no doubt due to 
the inertness of the lampblack, and that it has no oxi- 
dizing influence on the oil. On the other hand, lead 
compounds, such as white lead and red lead, do have 
an influence on the oil, so that the chalking of white 
lead may be due in a measure to the fact that white 
lead itself exerts a drying action. Certain lakes and 
aniline colors are affected by driers. In some cases 
the shade is affected to a considerable degree, due to 
the influence of the metallic salts in the drier. The 
bleeding of Para reds has been attributed to the de- 
structive influence of driers. 

The abuse of driers seems to be the use of more 
than the requisite amount necessary to dry the paint 
film. If the drier used were an oil drier, the effect 



DRIERS USED IN LINSEED OIL PAINTS 195 

would not be so serious, but would result in the film 
not having the usual gloss. If, however, the drier 
were a resin drier, the paint film at first would have 
a very high gloss, but cracking would probably be 
the final result. 

Strange as it may seem, the use of too much drier 
prevents drying. Hard, insoluble linoxyn is either not 
formed, or is dissolved by substances formed by sec- 
ondary chemical reactions, so that the film remains 
tacky. 

New linseed oil, or oil which is not well settled, 
affects the drying. A well settled, aged oil will dry 
more rapidly than one freshly made, for the latter 
contains mucilaginous matter, which settles out with 
age. 

I believe that the more knowledge a painter has of 
the material he uses the better are the results he will 
obtain, and the wider application he will find for the 
material. Now, applying this to driers, if he had some 
definite knowledge of the strength of a drier, say it 
was one-to-twenty drier, that is, that under ordinary 
conditions, one part of the drier would dry to the 
touch twenty parts of linseed oil in twelve hours, he 
would know just how much to use and he would know 
just what result to expect. 

Coach japan, oil driers and liquid driers are the 
vehicles most used in house paints and are subject to 
more abuse than all other liquids together. 

Coach japans usually contain a gum (Kauri, Ma- 
nila, or rosin) and are designed for paint which is 
meant to dry exceedingly hard. Oil driers are gen- 
erally made without gum and consist of a lead and 
manganese treated oil reduced with turpentine or ben- 
zine. The liquid driers are simply a gum or oil drier 
still further reduced with turpentine or benzine. 

The great abuse of driers is in using too much, the 



196 THE EXPERT HOUSE PAINTER 

result being that the paint is literally burned up by 
oxidation. If there was some standard for the 
strength of the different driers or japans, there would 
be less trouble, but as it is now, every painter is 
obliged to try out each new brand in order to deter- 
mine how much to use. 

The manufacturer generally advocates the use of 
3 per cent, as a maximum, knowing that this amount 
is practically safe, but 3 per cent, or 1-32 of a gallon 
of drier to one gallon of mixed paint will produce 
results depending upon the strength and not the quan- 
tity of drier. 

A simple method of determining the strength of a 
drier consists in mixing one fluid ounce of the drier 
with one quart of raw linseed oil, flowing on glass, 
standing upright, and noting the time it takes to dry. 
Comparison should be made with standard samples 
or previous shipments under similar conditions. The 
mere drying of the japan itself on glass is no crite- 
rion, as "crusher's drier," which dries oil rapidly, does 
not dry by itself in many hours. 

Where a 3 per cent, mixture of concentrated oil 
drier gives the required result, it is often necessary 
to add 33 per cent, or more of a cheap liquid drier 
to produce the same effect. 

Under ordinary conditions raw linseed oil will dry 
in about three or four days, so that if we have made 
a paint consisting only of raw linseed oil and a pig- 
ment and applied it to a surface it would take so long 
to dry that the dust and dirt of the atmosphere would 
collect on the freshly painted surface and spoil its 
appearance when it finally dried. To overcome this 
slow drying of raw linseed oil we add driers. 

Pale liquid driers are very light of color, and stain 
very little in white paint, but they are not a strong 
drier, it requiring more heat to make a strong drier 



DRIERS USED IN LINSEED OIL PAINTS 197 

than is used with the white or pale drier, and the 
heating darkens the drier. 

Oil driers should not contain any gums, rosins, etc., 
being principally linseed oil with siccative properties; 
it is best for exterior oil painting, as it is less liable 
to crack, etc., being more elastic. But they are slower 
than the japan driers, which ought to be preferred 
whenever quick drying of the paint is desired. Boiled 
oil may be considered an oil drier, because when mixed 
with paint it renders the use of any other driers un- 
necessary. Flat or semi-flat painting requires quick 
drying, hence the stronger japan driers are in- 
dicated. 

Paste or patent driers are made in paste form from 
barytes, white lead, zinc sulphate, acetate of lead, and 
boiled oil, all in definite proportions. 

There are many formulas for making driers for 
paints, and of course many qualities, as well as kinds 
for distinct purposes. Care should be observed when 
using, testing a sample when buying and rejecting all 
that do not prove satisfactory. Then hold fast to that 
which does prove good. 

A good liquid drier should be of a clear amber color 
when spread upon glass, and should dry hard and free 
from tack in eight hours, and after being on the glass 
seventy-two hours it should not resist rubbing with 
the finger, but remain firm. 

Testing Japan Driers. — Attach a sheet of white 
paper to a pane of glass, and lay glass on table. Pour 
three or four drops of raw linseed oil on the glass, 
and on this place a drop of the japan. Incline the 
glass a little as the japan touches the oil, and watch 
carefully the action of the drier. A good drier will 
unite at once with the oil. If the drier refuses to 
mix at once with the oil, it is a poor article. Now, 
stir the two together with a pin or similar small arti- 



198 THE EXPERT HOUSE PAINTER 

cle, and note if it curdles or not. A good drier will 
not curdle the oil it is mixed with. 

Another Test for Driers. — Apply the driers to 
glass and let it dry thirty-six hours; then take finger 
nail or knife and scratch it. If it flies off in scales, 
it is poor. If it rolls up, gummy, under the scratching, 
it is slow but sure, not powerful, also not harmful to 
paint. If the drier cracks while on the glass, it is 
brittle. The odor of a drier is not a sure test. A 
liquid drier which, added to the oil in proportions of 
from 6 to io per cent., produces a good drying oil, 
that is, a hard and glossy surface when applied to a 
smooth plane, such as glass, in from six to eight hours, 
at ordinary temperature, is a good article. Color is 
not really important as far as quality is concerned. A 
light colored drier is every whit as effective as a 
dark drier, but the popular preference is for the 
latter. 

Lightning Driers. — This drier is made both with 
and without gums, and, being a benzine liquid drier, 
it can be made cheaply. A sample made without gums 
dried on glass in two hours, while one made with gums 
dried on glass in thirty minutes. Such a drier is not 
fit for exterior painting, as it makes the paint more 
or less porous. The cheapest commercial driers will 
dry raw oil at an average cost of, say, 20c per gallon 
of oil; a good drier, costing twice as much, will dry 
the oil at the rate of, say, 8c per gallon. The best 
driers will do better work, too, in the wearing of the 
paint, than the inferior article will. This has been 
demonstrated by a practical painter. 

Manganese Driers. — Manganese is an excellent 
drier, but is apt to turn white paint a pinkish cast; 
a combination of lead and manganese is best. A high- 
gloss drier at a low price contains much rosin, and 
no kauri gum. A good drier contains kauri gum, 



DRIERS USED IN LINSEED OIL PAINTS 199 

chips it is true, but which are just as good for the 
purpose as whole gum. 

The Action of Driers on Paint. — When a film 
of raw linseed oil is exposed to the air at the ordi- 
nary temperature, a series of very complex chemical 
changes follow. I shall not trouble you with details 
of these changes, but shall simply say that under nor- 
mal conditions there is a progressive absorption of 
oxygen from the air, the effect of which is that the 
oil becomes first viscous, then sticky, and is ultimately 
converted into a solid, elastic body, which consists 
largely of a substance called by chemists "linoxin." 
The oil is then said to be dry. The process of oxida- 
tion does not stop with the production of linoxin, 
but proceeds, slowly or quickly, according to the local 
conditions, with formation of secondary products, un- 
til the film, after reaching a maximum of elasticity 
and hardness, begins to crack, powder and perish, and 
is ultimately destroyed. 

It has been known for a long time that if small 
quantities of certain chemically-active metallic com- 
pounds are dissolved in oil, the drying process begins 
sooner and the rate at which oxygen is absorbed is 
greatly increased. Those active chemical compounds 
which possess this property are termed "driers," and 
their function appears to be that of assimilating oxy- 
gen from the air and passing it on to the oil without 
their own chemical composition being materially af- 
fected. They have been termed "oxygen carriers." 

Typical modern "driers" or "siccatives," are red 
lead, litharge, sugar of lead, linoleate of lead, resinate 
of lead, tungate of lead, borate of manganese, resin- 
ate of manganese, acetate of manganese, oxalate of 
manganese, tungate of manganese, and resinate of 
cobalt, while mention must also be made of Chinese 
wood oil and spirits of turpentine. 



200 THE EXPERT HOUSE PAINTER 

The effect known as chalking or powdering is par- 
ticularly liable to occur in the case of paints which 
contain a preponderance of pigments which are in 
themselves driers. Familiar examples are white lead 
and red lead. The oxidation of the oil in such paints 
frequently proceeds so rapidly and so far that the 
paint film is burnt up and destroyed. This is par- 
ticularly noticeable when too little oil has been used 
in the composition of the paint, and the effect is ag- 
gravated when a superabundance of turpentine has 
been used, there being no doubt that in such case the 
turpentine acts, in conjunction with the drying pig- 
ment, as a very powerful drier. A variety of pow- 
dering which is preceded with loss of gloss is found 
also in the case of paints whose chief constituent is 
oxide of iron. The cause of this is different from 
that which induces chalking in the case of lead paints, 
and is usually traceable to physical peculiarities pos- 
sessed by oxide of iron pigments. 

Cracking or checking is a defect which is frequently 
due to lack of elasticity in the paint film, and this lack 
of elasticity is not infrequently aggravated by the use 
of an excess of drying material, or by the use of dry- 
ing material of an unsuitable kind. Some paints which 
contain considerable proportions of oxide of zinc are 
liable to this defect, which can only be overcome by 
the use of prepared thinning and drying materials spe- 
cially suited to the nature of the pigment. 

It appears to be the nature of a paradox to say that 
paint which contains too much drying material fre- 
quently fails to dry. Such, nevertheless, is the case. 
If oxygen is absorbed too rapidly by a paint film, 
secondary chemical action takes place which prevents 
the normal formation of linoxin, and these actions re- 
sult in the formation of a sticky, non-drying product. 
A precisely analogous phenomenon is observed when 



DRIERS USED IN LINSEED OIL PAINTS 201 

linseed oil is exposed to the air in bulk, the familiar 
substance known as oil gold-size being produced in 
this manner. 

When paint does not show any tendency to become 
hard, even when a considerable proportion of drying 
material is present, but remains wet for an indefinite 
period, unsuitability of the drier is indicated. Certain 
driers are slow starters of oxidation, but are efficient 
accelerators of oxidation when the process has been 
started. Linseed oil that is too new, or that contains 
suspended footy or albuminous matter, is very liable 
to retard, or even to inhibit, the normal action of 
driers. 

Temperature exerts a powerful influence on the rate 
of drying, as also does humidity in the atmosphere. 
At very low temperatures drying is greatly retarded, 
and may even be stopped altogether; and it is often 
found that paint which has been exposed to a slow 
temperature, and in which the drying has been checked, 
does not dry normally afterwards, even when the tem- 
perature and other local conditions have become suit- 
able. Moist or vitiated air retards the drying of paint, 
for the very evident reason that there is not a suffi- 
ciency of oxygen in direct contact with the paint film 
to enable the oxidation to proceed in a normal manner. 

The influence exerted by different pigments on the 
rate of absorption of oxygen by linseed oil is very 
marked, and is an exceedingly complex, and in some 
ways abstruse, subject. The precise reason why such 
pigments as lampblack and yellow ocher, which have 
practically no chemical effect on linseed oil, should 
retard the drying of that medium is by no means clear, 
and some of the explanations offered to account for 
the phenomenon appear to be satisfactory only to the 
ingenious gentlemen who propound them. When pig- 
ments of this kind are in question, it is necessary to 



202 THE EXPERT HOUSE PAINTER 

use a drying material which contains driers capable 
of starting oxidation quickly, and also capable of pro- 
moting the absorption of oxygen for a considerable 
period. 

Some Drier Formulas 

Patent Driers. — An old name for an old drier. 
Mix together 2 parts each of zinc sulphate and sugar 
of lead (lead acetate) and mix with 2 parts of best 
white lead or zinc white. Used with white paint, 
because it will not discolor it as dark driers will. 

Litharge Driers. — Grind some best powdered lith- 
arge with drying oil to a paste, add to it a small por- 
tion of the paint it is to dry, and thin out with raw 
oil and turpentine, according to purpose of the paint ; 
it is intended specially for a dark paint. It is a pow- 
erful drier and should be added to paint sparingly, not 
to exceed 4 parts driers to 1000 parts of oil. 

Paste Driers. — This is similar to the patent drier 
formula, and is from a paint chemist, Scott. 

Paris white 120 parts 

White lead SO parts 

Zinc sulphate 15 parts 

Sugar of lead 10 parts 

Litharge 12 parts 

Grind in 63/2 gals, pale boiled oil. Adapted for all 
lead and zinc paints, and may also be used with such 
paints as green, black, oxides, etc. Substitute barytes 
or terra alba for the white lead. 

Japan Driers. — To a gallon of raw linseed oil add 
12 oz. gum shellac, 8 oz. each of litharge, burnt umber, 
and red lead, and 6 oz. sugar of lead. Boil until in- 
gredients are dissolved, which will be about four hours. 
Remove then from the fire, and stir in one gallon of 
turpentine. 

Cheap Japan Driers. — Mix together 4 lbs. each of 



DRIERS USED IN LINSEED OIL PAINTS 203 

red lead and litharge, and 2 lbs. of raw umber, with 
4 gals, of raw oil. Boil slowly two hours, and add 
gradually 7^4 lbs. gum shellac and boil thirty minutes 
longer. When well mixed add gradually 1 lb. of 
powdered zinc sulphate, and when nearly cold mix in 
thoroughly 7 gals, of turpentine. 



LIQUIDS USED IN THINNING PAINTS, ETC 

Turpentine Spirits. — When distilled from the 
pure gum these spirits thin paint perfectly, aid dry- 
ing, do not make "short" paint, prevent wrinkling, 
reduce the tendency of paint to become fatty, are not 
affected by cold, standing a temperature of 30 deg. 
Fahr. without danger, and work well over wet wood, 
because turpentine will mix with water. 

It mixes with all paint oils and thinners, and is espe- 
cially valuable because of its flatting quality. It does 
contain an acid that injures some pigments, such as 
flake white and rose madder, but such pigments have 
very little interest for the house painter. 

Wood Turpentine Spirits. — Made from stumps 
and refuse pine lumber. The dry-distilled product 
has a strong, pungent odor and acquires a deep, yel- 
low color with age or when kept in the dark. The 
steam-distilled spirits has less odor, is water-white, 
and does not turn yellow so soon. It is a quite satis- 
factory thinner, and is much used in place of the gum 
spirits. The specific gravity and flash point of the 
two turpentines are similar. 

Wood turpentine has such a strong and pungent 
odor that many persons will not have it used by paint- 
ers who do their work. But this odor may be almost 
entirely removed by redistillation, and the spirits re- 
tain their water-white color for a long time. Redis- 
tilled wood turpentine is now classed as pure commer- 
cial turpentine; if free from odor it is very satisfac- 
tory. The diluting power of wood turpentine is the 
same as that of gum spirits. 

204 



LIQUIDS USED IN THINNING PAINTS, ETC. 20S 

Turpentine Substitutes. — Heavy petroleum dis- 
tillate, variously known as white spirit, heavy naphtha, 
and heavy petroleum distillate, or simply distillate, is 
the base commonly employed for making turpentine 
substitute. This liquid is water-white, something be- 
tween benzine and kerosene, but does not leave as 
much grease on white paper as kerosene does. It is 
less volatile than benzine, flows better with paint than 
benzine, but it slightly retards drying. It is often 
used alone in place of turpentine, but more commonly 
it is "improved" by the addition of other liquids, such 
as wood turpentine to the amount of 5 per cent, to 
20 per cent, and rosin spirit, or a mixture of the two 
and a little pine oil; in this way we get a better imi- 
tation of the true turpentine odor, and it will mix bet- 
ter with paint and varnish. Benzol also is sometimes 
added. A substitute containing no turpentine may be 
made from benzine 80 parts, kerosene 18 parts, and 
rosin spirit 2 parts. This makes a water-white fluid 
with a turpentine odor, due to the presence of the rosin 
spirit ; it works well in paint, but not so well in varnish. 

Another substitute is composed of equal parts of 
rosin spirit and heavy benzoline, and turpentine twice 
as much. Or, turpentine 1 part, benzol 1 part, and 
petroleum spirit 2 parts. Or, 1 gal. turpentine, 1 gal. 
rosin spirit, 2 gals, petroleum spirit, 2 lbs. rosin, and 
2 lbs. gum sandarach. And so on, almost without 
limit. Most turpentine substitutes are made from for- 
eign petroleum oil, which does not give a good burn- 
ing oil, American petroleum being the best in the 
world for illuminating purposes, but which, particu- 
larly the Pennsylvania oil, won't make a good sub- 
stitute, being too light. The Russian "turpentines" 
are too greasy and do not evaporate out well, some 
not at all perfectly. Some of these substitutes smell 
very like real turpentine, but have a woody rather 



206 THE EXPERT HOUSE PAINTER 

than a gum odor, due to the presence of wood tur- 
pentine. 

Benzine. — Benzine is a good thinner and a great 
solvent of oils, but it lacks some of the best properties 
of turpentine. It is more volatile ; as a thinner of oil 
paint it abstracts too much oil, leaving the pigment 
with insufficient binder. It is a better thinner; as mere 
thinning goes, than turpentine, but it makes paint 
"short," it does not level or flat well under the brush, 
a fault particularly noticeable in varnish thinned with 
it. The tendency of benzine when mixed with paint 
is to make the paint more soft than common after 
the paint has dried. Grainers say that when the grain- 
ing ground has been made of paint thinned with ben- 
zine there is a tendency of the paint to rub up. Ben- 
zine seems to leave some paraffine, causing the paint 
trouble spoken of. 

It is well known that benzine will not flat paint as 
turpentine does; thin it with benzine until like milk 
for consistency, and when dry the paint will have more 
or less gloss. Again, white paint thinned with ben- 
zine will yellow, but with turpentine it will not. It 
is simply useful for thinning out the paint when that 
is all you desire of it. It will not injure the paint, 
as it completely evaporates. Why it should yellow 
paint is hard to understand, unless it is because of the 
paraffine it is assumed to leave with the paint, and 
which must be a very inconsiderable amount. It was 
discovered by oil-cloth makers that benzine yellowed 
white paint. 

When you want to make enamel paint flow easier, 
some benzine may be added and the end will be 
achieved, and the finish will have all its gloss. Thin 
out with turpentine and the gloss would be wholly or 
partially gone. 

Benzine does not work well on wood containing an 



LIQUIDS USED IN THINNING PAINTS, ETC. 207 

excess of moisture, owing to the fact that it will not 
mix with water; turpentine does. Neither will it 
withstand a high degree of temperature owing to its 
rapid evaporation; in consequence it is useless in bak- 
ing or japanning. Also, if chilled to near the freezing 
point it precipitates the gums in varnish, so that it 
is easy to see it is not adapted to either a hot or a 
cold climate. 

To test benzine for purity place a few drops on 
white paper, and if pure it will completely evaporate 
in seven minutes, leaving no stain. 

Benzol. — A product of bituminous coal, obtained 
by distillation. A by-product of gas works, from the 
resultant gas tar. Variously known as benzol, coal tar 
naphtha, and solvent naphtha. A water-white liquid, 
volatile, and leaves no residue after evaporation. A 
perfect solvent for rubber, oils, gum resins, etc. In 
connection it forms the paint and varnish removers of 
commerce. It may be used in connection with turpen- 
tine for cutting damar gum. Paint containing some 
rosin is inclined to granulate, and to prevent this some 
benzol is added. Benzol is useful for softening up 
an undercoat of paint, so that the succeeding coat will 
adhere ; this may be accomplished by adding the benzol 
to the coating over the old paint. But benzol should 
not be used in paint at any other time, as it is too 
strong a solvent. It may be observed here, however, 
that some painters say they use it, in small amount, 
in place of the higher priced turpentine, but I do not 
so advise its use. In its brushing qualities it resembles 
turpentine more than any other spirit of its class. It 
is one of the best solvents known for rosin, and it is 
unaffected by cold temperature. Mixes easily with 
benzine, turpentine and linseed oil. Very inflammable, 
and must be used with care; insurance companies ob- 
ject to it. Very useful for painting over hard pine 



208 THE EXPERT HOUSE PAINTER 

and cypress, penetrating those woods and softening up 
the hard gum. 

There is a great deal of benzol being used in flat 
wall paints and in turpentine substitutes. 

Benzols are made in several grades, having different 
evaporation points. Some kinds will evaporate in ten 
minutes, others require some hours. Painters will do 
well to use the one that evaporates in about I % hours. 
This is technically known as solvent naphtha of 160 
deg. This is almost as slow as turpentine. This is 
a safer benzol to use than the quicker ones. There is 
less danger of fire and explosion. Also, being slower, 
it gives the paint more time for penetrating the wood, 
and longer for softening up old paint. But for bronz- 
ing purposes it is better to use a quicker benzol, as 
bronze dries with a better luster the quicker the liquid 
dries. 

Carbon Tetrachloride. — A perfect solvent for all 
substances that are soluble in turpentine, benzine and 
benzol; non-inflammable, it cannot be set afire. This 
liquid and chloroform are the only solvents that will 
not take fire ; they may be evaporated in an open dish 
on a hot stove with perfect safety. It is colorless, 
like chloroform, and has a similar odor, but in much 
less degree. A perfect thinner for paint and varnish, 
rendering them less inflammable and hastening the dry- 
ing process. But the cost of this liquid and its slight 
chloroform odor bar its use with painters. 

Carbon tetrachloride is a good solvent for many 
resins, particularly such as are dissolved by benzine 
and mixed nitric and hydrochloric acids, but are nearly 
or quite insoluble in alcohol. A very good varnish 
may be made by dissolving gum damar in this solvent, 
heated to 120 F. Some resins of the copal class, 
which dissolve with difficulty in turpentine, and very 
slowly in boiled oil, dissolve readily in hot carbon 



LIQUIDS USED IN THINNING PAINTS, ETC 209 

tetrachloride. It also is capable of completely dissolv- 
ing with alcohol many resins that with alcohol alone 
dissolve only partially, and with 10 to 20 per cent, 
added to the alcohol these resins dissolve completely. 
Gum shellac, sandarach, and some other resins, for 
example, dissolve but slightly in commercial dena- 
tured alcohol of 90 strength, owing to the presence 
of water ; but they dissolve completely on the addition 
of the percentage of tetrachloride named. 

Kerosene. — Popularly known as coal oil; it is a 
distillate of petroleum. It imparts elasticity to paint 
and varnish, especially the baking varnishes, etc. It 
promotes flow and increases the leveling property; it 
is very repellent of water. Not a drier, though with 
rosin and manganese it is possible to produce a fairly 
good combination drying oil. As a paint thinner it 
is not to be recommended, as it retards drying and 
causes separation of oil and pigment on metal, and to 
less extent on wood. A paint containing kerosene 
will peel and come off; it will also cause a coat of 
good paint, applied over it, to leave the surface. 
Kerosene should have no place in the paint-mixing 
shop. About 85% of this oil will evaporate, the 
residue remaining to injure the paint it may be mixed 
with. The relative evaporation of kerosene is 13, as 
compared with that of turpentine, 1,100. While some 
painters report good results from a moderate use of 
kerosene in paint, and while there is much of it used 
on the Pacific coast and in the South, still we must 
conclude that the evidence against its use is over- 
whelming. 

Water.— Water is used both as a thinner and as 
an emulsifier, the latter to keep mixed paint in suspen- 
sion. As water will not mix with oil, it is necessary 
to employ some medium to effect this union, and we 
find useful for this purpose alkali, glycerine and alco- 



210 THE EXPERT HOUSE PAINTER 

hoi. Oil and alkali form soap, oil and glycerine form 
a glyceride, and oil and alcohol form a mechanical 
mixture. In adding an alkali to the oil for thinning 
paint, care must be taken not to add too much, in 
which case soap would result, while just the correct 
amount will form simply an emulsion. One formula 
may be cited as showing how the emulsion may be 
formed: Dissolve 4 oz. of borax (or 2 oz. of sal 
soda) in one gallon of hot water. Then add 1 lb. of 
gum shellac, either the bleached or orange colored, ac- 
cording to the paint desired, whether white or tinted. 
The alkaline mixture is kept at a temperature just 
under the boiling point, and the solution must be stirred 
until the gum is dissolved. This is usually accom- 
plished in about thirty minutes. Strain the solution 
and add to any kind of mixed paint, the limit being 
one part of the solution to two of the mixed paint. 
The more common addition, however, is about one- 
tenth solution. 

A mixed paint thinned to working consistency with 
turpentine, benzine, or linseed oil, will take one-tenth 
its volume of the solution, and apparently not be any 
thinner. The paint will then work very easily under 
the brush, and cover very well. The solution is de- 
signed to hold the paint in solution, preventing the 
settling of the pigments. But such a solution-treated 
paint is properly called adulterated. Any paint con- 
taining more than two per cent, of water is con- 
sidered to be adulterated. 

After the water of this solution has evaporated 
from the paint there remains the shellac combined 
with the oil forming a film that is very durable. Zinc 
white, lithopone, and other non-porous pigments have 
a tendency to form an enamel surface, and should be 
assisted by the addition of a more porous pigment, 
like silica, barytes or whiting, as this will prevent the 



LIQUIDS USED IN THINNING PAINTS, ETC. 211 

film from becoming hard enough to scale when the 
water escapes. When water is vaporized by heat, it 
expands to several hundred times its original volume, 
and this expansion causes paint to peel off, particu- 
larly where the wood is not perfectly dry. 

Rosin Spirit. — Obtained from rosin by distilla- 
tion. A good solvent and thinner, but its yellow 
color and strong odor is against its general use in 
paint, though it is used in the varnish factory. Its 
principal use seems to be in the making of turpentine 
substitutes, as previously pointed out. 

Gloss Oil. — This can hardly be classed as a paint 
thinner, though it is a very thin liquid, used to some 
extent by painters for size, etc. A factory formula 
for making rosin oil is as follows: "F" rosin 400 
lbs., 59 or 62 deg., benzine 50 gals., producing about 
90 gals, gloss oil. It has very little body, sets 
quickly, but with the addition of a heavy petroleum 
spirit this is retarded. 

Pine Oil. — Pine oil is obtained from the distilla- 
tion of pine and fir seeds, as a rule, but more or less 
wood and pitch are used in producing the commer- 
cial oil. It has a pale, yellow color, and smells 
strongly of rosin and spirit, or something like dry 
distilled turpentine. Not used as a paint oil, unless 
when added to mixed paint and varnish, to impart a 
turpentine odor. 

Amyl Acetate. — Obtained from fusel oil and 
acetic acid by distillation. Used mainly as a solvent 
for celluloid and gun-cotton, in the preparation of 
bronzing liquids and spirit varnishes. Odor like ba- 
nana liquid. Too expensive to be used as a thinner. 

Amyl Alcohol is the principal constituent of 
fusel oil, etc. 

Alcohol. — Ethyl or grain. Obtained by fermen- 
tation and the distillation of rye and other grains. 



212 THE EXPERT HOUSE PAINTER 

Grape alcohol from grapes. Absolute alcohol is that 
which is obtained entirely free from water, a condi- 
tion not obtained by ordinary distillation, and effected 
only by the use of some dehydrating substance, as 
quicklime. Commercial absolute alcohol contains 
about i per cent, of water, and it is used only for spe- 
cial purposes. U. S. Pharmacopoeia alcohol means a 
solution of 91 per cent, by weight of ethyl alcohol and 
9 per cent, of water. Proof spirit or dilute alcohol 
means a solution of 45.5 per cent, of alcohol and 54.5 
per cent, of water, both by weight. 

Denatured Alcohol. — This is simply grain alco- 
hol to which has been added a certain percentage of 
wood alcohol, usually about 10 per cent., which unfits 
it for beverage purposes and does not unfit it for all 
the purposes of an industrial character. 

Wood Alcohol, or Methyl Alcohol. — Known 
also as wood spirits, wood naphtha, pyroxyllic spirit, 
and carbinol. Distilled from wood. Since the ad- 
vent of denatured alcohol, and on account of its very 
poisonous and generally objectionable character, it is 
not much in use by painters now. 

Acetone. — An inflammable liquid with a biting 
taste, and obtained by the destructive distillation of 
certain acetates, citric acid, starch, gum, or sugar. 
Used in making chloroform and as a solvent for fats, 
camphor and resins. Much used in the preparation 
of bronzing fluids and varnish and paint removers. 
The addition of one gallon of acetone to 25 gallons of 
wood alcohol will produce a solvent that will cut shel- 
lac more readily than wood alcohol alone. 

Fusel Oil. — An acrid, oily liquid of a vile odor, 
accompanying the making of potato spirits, corn 
spirits, etc. It consists chiefly of amyl alcohol, hence 
is also known as amyl alcohol. 



LIQUIDS USED IN THINNING PAINTS, ETC 213 

Water Glass. — Soluble glass. Silicate of soda. 
Silicate of potash. Consisting of silica which has 
been liquefied by extreme heat and pressure in connec- 
tion with potash, giving potassium silicate, and with 
soda, giving sodium silicate. The latter is that com- 
monly used by painters. It is of a syrupy consist- 
ence, and is dissolvable in water. 

How to Distinguish Various Solvents. — The 
various solvents have certain characteristics which en- 
able us to distinguish one from the other; amyl ace- 
tate and fusel oil are always recognized by their odor; 
carbon tetrachloride and chloroform by their odor 
and non-inflammability; benzol or solvent naphtha by 
its coal tar smell and property of mixing with both 
alcohol and turpentine; kerosene oil by its leaving a 
greasy stain on white paper; benzine by its odor, its 
flash point, and acid resistance; turpentine by its 
odor, its perfect mixture with varnish, and by the 
following simple test, which distinguishes crude wood 
spirit from the rectified spirits of turpentine : 

In several small wine glasses or beakers place 
about half a fluid ounce of each of the following sol- 
vents, viz. : Turpentine, wood spirit, benzine and sol- 
vent naphtha. Now add an equal amount of strong 
hydrochloric (muriatic) acid, the acid must be chem- 
ically pure and colorless, then stir with a glass rod. 
After about two minutes the lower strata or layer of 
acid will be colored a pale amber or topaz-yellow in 
the case of pure turpentine; a bright red turning to 
brown in the case of wood spirit, or an orange brown 
if rectified; no change in the case of benzine, both 
strata remaining colorless; while in the case of sol- 
vent naphtha both strata remain colorless for about 
fifteen minutes, after which the lower strata takes on 
a very faint pink tinge. 



214 THE EXPERT HOUSE PAINTER 

Some Little-Used Paint Oils 

Cottonseed Oil. — This is about the least adapted 
of any of the various linseed oil substitutes that can 
be used in paint. It is strictly a non-drying oil, and 
paint containing a very little of it will be slow in dry- 
ing, while a greater amount will result in a very 
sticky paint. 

Corn Oil. — As this is not used by the painter little 
need be said about it; besides which its cost is now 
too great to make it a rival of linseed oil. It was 
once very cheap, and then paint and putty makers 
tried to work some of it in, but of course, not with 
success. It is a poor drier. 

Soya Bean Oil. — A semi-drying oil much talked 
about by paint makers. It may be used in connec- 
tion with linseed oil, but used alone it will not pro- 
duce as tough a film when dry as does linseed oil; 
it does not absorb oxygen from the air to anything 
like the extent that linseed oil does. 

Poppy Seed Oil. — A drying oil, the cold-drawn oil 
being almost water white, while the hot-pressed oil 
has a pale, golden-yellow color. It is an expensive 
oil, and it is apt to be adulterated with walnut oil, in 
which case it is not suitable for fine white zinc and 
white enamel paints. It is valued in house painting 
because it will not turn yellow like linseed oil when 
kept in the dark. 

Hempseed Oil. — A good drying oil and has a 
greenish-yellow color. It would very likely be exten- 
sively used as a paint oil if not so costly. 

Rosin Oil. — This oil is obtained by distillation 
from rosin or pine gum. This distillation gives sev- 
eral products, the last two of which are rosin spirit 
and rosin oil. Rosin oil is cheap, and some of the 
cheaper linseed oil substitutes contain more or less 



LIQUIDS USED IN THINNING PAINTS, ETC 215 

of it. Barrel and cheap barn paints are often mixed 
with it. It dries hard in paint, but afterwards 
softens up, where exposed to the sun, and cracks very 
badly in the shade. It is the worst thinner that could 
be used. 

Menhaden or Fish Oil. — From a small fish, 
larger than a herring. Three grades of this oil are 
produced, crude, brown, and bleached, or "winter 
white." The lower grade, the brown, is sometimes 
used in grinding dark paints, but the bleached is best, 
as the bleaching process eliminates much of the fish 
odor, besides making a clearer oil. Owing to its abil- 
ity to withstand an intense heat, it is found very use- 
ful for paints intended for surfaces subject to great 
heat, such as smokestacks, furnace fronts, etc. Our 
paint experts consider fish oil as the best of the avail- 
able oils in place of linseed oil, though much improve- 
ment will first have to be made in the oil to fit it for 
painting purposes in a general way. It dries well, or 
in about the same time as linseed oil, drying with a 
hard, waterproof film. Treated with litharge at a 
high heat it becomes very dark and yields an offensive 
odor. 

China Wood Oil. — Known in China as tung oil, 
being obtained from the nuts of the tung tree of that 
country. It has been used by the Chinese for cen- 
turies, for waterproofing boats, for lacquering, etc. 
The color of the oil varies with the manner of its ex- 
traction. In China it is usually heated very strongly, 
which produces a heavy, dark product. It has the 
peculiar quality of drying more quickly in damp than 
in dry weather. An excellent feature is its hard 
drying properties. Used alone, it will dry flat, but the 
addition of as low as 10 per cent, of rosin by weight, 
hardened with calcium oxide, will produce a high 
gloss coating, drying to the hardness of a high grade 



216 THE EXPERT HOUSE PAINTER 

copal varnish. It is useful for making the cheaper 
grades of varnish for painters and furniture makers, 
and for dipping. Exposure to the weather results in 
dulling the varnish. 

When not darkened overmuch by heat the wood 
oil is clear and somewhat yellow of color, and has a 
peculiar odor, something between castor oil and lard 
oil. With scarcely any taste, it is the most rapid of 
the drying oils, drying in about twenty-four hours. 
Linseed oil dries from the surface, but wood oil dries 
uniformly throughout. 

Wood oil has a greater body or viscosity than lin- 
seed oil, being considerably thicker, consequently does 
not possess the penetrative power of linseed and will 
not adhere so well. Owing to its waterproof char- 
acter and its peculiar affinity for rosin it enables the 
varnish maker to produce a cheap varnish of durable 
quality. A varnish containing 50 per cent, of rosin 
made without the addition of wood oil, will turn 
white if immersed in water for a short time, whereas, 
with an addition of wood oil there will be but little 
change, the total amount of oil in the varnish being 
the same in both cases. China wood oil is superior 
to linseed oil in one respect only, and that is the 
toughening characteristics it gives to linseed oil var- 
nishes containing rosin. It cannot be and is not used 
in place of linseed oil, but merely in addition to the 
latter in certain percentages. Even then it cannot be 
used in its raw state, but must undergo certain treat- 
ments first. Recently there has appeared on the mar- 
ket a paint oil composed of linseed oil and a treated 
wood oil, which has given fairly good satisfaction. 



LINSEED OIL 

Linseed oil is obtained from the seed of the flax 
plant. In the early stages of the industry the seed 
was crushed and ground to a pulp, then pressed and 
the oil extracted at ordinary temperature. This 
gave an oil that contained very little foots, was quite 
light in color, and was of excellent quality for imme- 
diate use. The percentage of oil extracted, how- 
ever, was not very high, so that at the present time 
no cold-pressed oil is made, but the seed, after being 
ground, is cooked, or "tempered," with steam, which 
breaks up the plant cells and allows of more complete 
extraction of the oil. This hot-pressed oil as it 
comes from the press is not fit for most commercial 
uses, as it contains considerable water and gummy 
substances. It is, therefore, filtered and stored in 
tanks and finally submitted to various processes, 
which remove the harmful ingredients and at the 
same time improve and bring out the special quali- 
ties most desired in the various kinds of paint and 
varnish oils on the market. The quality of the oils, 
therefore, depends not only on the purity and good 
condition of the flaxseed, but also on the care and 
thoroughness with which it is treated in the succeed- 
ing operations. 

The chief value of linseed oil as a paint is in its 
power of drying in a comparatively short time to a 
hard, tough, elastic and durable film when exposed 
to air. The raw oil is a thin mobile fluid that flows 
well under the brush and has good spreading qualities. 

217 



218 THE EXPERT HOUSE PAINTER 

It also has sufficient body to hold up the pigment and 
gives a paint that is uniform in color and appear- 
ance and does not run or get streaky. The paint 
film after it has dried should not crack, check or 
blister, if properly applied on a good surface. It 
gives off no bad odors, nor does it soften or deterio- 
rate in the sun or when exposed to the weather. No 
other commercial oil possesses all of these properties 
to such a high degree. Claims are made for some of 
these oils and linseed oil substitutes now on the mar- 
ket that, as regards general painting purposes, they 
are equal if not superior to linseed oil, but these 
claims have not been fully proven, and until they 
have been it does not seem wise to run any risk 
when the best results are required, and where condi- 
tions are at all severe. In many cases the claims for 
these linseed oil substitutes are not true and their 
use results in great trouble and expense on the part 
of the painter, as well as considerable loss of reputa- 
tion to him. 

Raw linseed oil, as it comes from the press, is not 
yet suitable for use, and, as stated above, has to be 
filtered and stored before used. It is also further 
treated in different ways, depending on the use to 
which it is to be put. Several grades or varieties of 
linseed oils are, therefore, in the market, designed 
for different kinds of paint manufactured for the 
master painter, varnish maker, leather industry, for 
linoleum, etc., etc. The chief grades are the follow- 
ing: 

Raw Oil. — This is the original oil pressed from 
the flax seed and from which all the other special oils 
are prepared. Before being sold to the trade, how- 
ever, it must first be very carefully filtered and 
stored for a certain length of time. The "foots," as 
they are called, which are often found in an old barrel 



LINSEED OIL 219 

of linseed oil, are the gummy or mucilaginous mat- 
ters which separate out of the oil on storage. The 
greater part of these are removed in the filter presses 
and storage tanks before the oil is shipped to con- 
sumers, but it is impossible to remove all of it from 
the raw oil, as it continues to settle out for a great 
length of time. The quantity of foots in a fresh raw 
oil depends partly on the condition of the seed, on 
the care used in cooking and pressing it, and in fil- 
tering. It depends also on the kind of seed which is 
used. For example, the Calcutta seed gives oil which 
has less foots than does that from the United States 
and Canada. This is partly the reason why in the 
old days Calcutta oil was valued so highly by the 
paint and varnish trade. At the present time, how- 
ever, this does not hold so true, as with improve- 
ment in the methods of extraction and preparation 
of the oil from domestic seed, it is equally as good 
as any other, and is now given a preference in this 
and other countries. 

A raw oil improves with age by reason of the 
more complete separation of the foots. It is the 
foots that tend to make the paint "tacky," soft, as 
well as slower drying, and the paint also is not so 
durable. 

The chief use of this oil is in the grinding of pig- 
ments and in the mixing of paints by both the paint 
manufacturer and by the practical painter himself. 

Boiled Oil. — There are several boiled oils on the 
market, each with its own particular use. They are 
all made, however, by boiling the oil with prepared 
driers under careful control and supervision. Each 
manufacturer has his own method of boiling, the de- 
tails of which are rather jealously guarded. The 
addition of the drier to the raw oil causes the result- 
ing boiled oil to dry in from 7 to 12 hours instead of 



220 THE EXPERT HOUSE PAINTER 

from 48 to 72 hours, not on account of the oxidizing 
action of the drier on the oil, but by its action as a 
carrier of oxygen from the air to the oil. It acts as 
a sort of go-between in first taking up oxygen from 
the air and then giving it up to the oil, thus causing 
the latter to dry and harden more quickly than it 
otherwise would do. 

The boiling of the oil also sets free the "mucilage" 
in the oil, practically all of which is removed in the 
process. A boiled oil containing a large excess of 
foots should always be looked upon with suspicion 
as showing evidence of having been "bung-hole- 
boiled," i. e., of the drier having been added to the 
raw oil after it has been placed in the barrel without 
being boiled at all. A certain amount of foots, how- 
ever, is usually present, which, in a great many cases, 
has settled out after the oil was put into the barrels, 
and cannot be overcome, as this quality of oil cannot 
be filtered commercially by the manufacturer. 

Among the different boiled oils on the market we 
would mention the following: 

Kettle-Boiled Oil. — In the old days all boiled 
linseed oil was prepared in an open kettle heated by 
direct heat from a fire built beneath it. This has to 
be very carefully done, not only on account of the 
danger from fire, but also on account of the possi- 
bility of overheating and damaging the quality of the 
oil. If properly prepared, however, it is of the high- 
est quality and usually commands a somewhat higher 
price than ordinary boiled oil. It is usually slightly 
darker in color, chiefly on account of the higher tem- 
perature to which it has been raised. 

Ordinary Boiled Oil. — This is much the same 
as kettle-boiled oil, except that it is heated in steam- 
jacketed tanks or kettles and larger quantities of oil 
are taken at a batch. The oil is also probably not 



LINSEED OIL 221 

raised to such a high temperature, although, if care- 
fully prepared, it should be of good quality for most 
purposes. On account of the lower temperature 
used in its preparation it is lighter in color than the 
kettle boiled. A very large percentage of the boiled 
oil of commerce is made by this process. 

In addition to these principal kinds of linseed oils 
there are certain other special oils, each of which has 
its uses. Among these we would mention: 

Heavy Raw Oil. — This is a raw oil treated in 
such a way as to make it less fluid and with more 
body to it so that it can hold up a heavy pigment in 
suspension better than ordinary raw oil. The pig- 
ment does not settle so quickly and the paint does not 
have to be stirred up so much while it is being used. 
The coat of paint is, therefore, more uniform in ap- 
pearance and more pleasing results are obtained. It 
should dry in a slightly shorter time than ordinary 
raw oil, but not as quickly as boiled oil. Its principal 
use so far is in the grinding of pigments by the paint 
manufacturer, although we do not see why it should 
not be equally valuable to the painter himself. 

Heavy Boiled Oil. — This has much the same 
qualities as the heavy raw oil, except that it dries 
more quickly, and is used by the paint manufacturer 
and painter where he requires a boiled oil for heavy 
pigments and where quick drying is essential. 

Extra-Pale Boiled Oil. — This is a light-colored 
boiled oil with specially quick drying properties and 
is used in the grinding and manufacture of light-col- 
ored paints and in enamels. 

Varnish Oil. — As its name signifies, it is used for 
the manufacture of varnishes of various kinds. It is 
not a boiled oil, but is treated in such a way that it 
will not "break" by any application of heat. When 
ordinary oil is heated up to moderately high tern- 



222 THE EXPERT HOUSE PAINTER 

perature a flocculent gummy precipitate, called the 
"break," separates out. An oil varnish consists of 
resin dissolved in linseed oil at high temperature, the 
solution being afterwards thinned with a volatile 
solvent. Owing to the high temperature used in 
varnish preparation, the varnish oil must have its 
breaking property entirely eliminated; but, on ac- 
count of the expensive and elaborate applications of 
oil varnishes the oil must retain its durability and 
elasticity unimpaired by the treatment given to pre- 
vent breaking. Each linseed oil manufacturer has 
his own particular method by which he removes this 
breaking property, the quality of the product de- 
pending partly on the process employed, but largely 
on the careful attention given to the oil while it is 
undergoing the treatment. 

Refined Oil. — This is an oil which has been 
bleached out and made of a yellowish white color. 
It is especially useful in the grinding of white paints, 
as it does not injure the color of the pigment. It 
usually does not "break" on heating, because the 
breaking element in most cases has been removed. 
Strictly speaking, however, it is not a varnish oil, al- 
though some brands may be used for this purpose if 
combined with a suitable drier. Bleached oil, like 
raw, dries slowly, and it is customary to mix suitable 
driers with it. The process of bleaching has to be 
carefully controlled since if it is carried too far it 
injures the good qualities of the oil. For this rea- 
son a very white oil is not to be recommended. 

Aged Oil. — This is a thick, heavy oil which has 
been partially oxidized and the "break" removed. 
It dries, therefore, somewhat quicker than ordinary 
raw oil. Its special use, however, is in the manufac- 
ture of patent leather and linoleums, in which indus- 
tries large quantities of it are used. 



LINSEED OIL 223 

Adulteration of Linseed Oil and Linseed Oil 
Substitutes 

Within the past few years this has been practiced 
more than formerly. With the increasing demand 
for linseed oils and its increased price, many attempts 
have been made to find an oil which would take its 
place and at a lower cost. So far this has not been 
completely successful, although for some purposes, 
as in the case of cheap paints, for steel work and 
other similar work, some of these oils have found 
considerable use. For woodwork, however, both 
interiors and exteriors, and where the highest class of 
painting is required, a substitute oil has yet to be 
found which will completely take the place of linseed. 
Some of them are used in admixture with linseed oil 
and are sold under various trade names, apparently 
chosen to mislead the public as to their real char- 
acter. 

In all fairness to the manufacturers of linseed oil, 
we must say that we do not believe any of them 
knowingly adulterate their products. Of course, 
cases of bad oils have come to our attention in which 
the fault was due to improper preparation of the oil 
before being shipped. In most cases, however, the 
trouble is found to be due to adulteration of the oil 
after it has left the manufacturer, by unscrupulous 
jobbers, retailers, etc. This is the case particularly 
when the price of oil has advanced to a point where 
it makes it profitable to add 5, 10 or even 20 gallons, 
of some other cheaper oil to the original barrel of lin- 
seed. In other cases where only a small quantity of 
oil is sold it has been found that the measuring can 
or container has not been clean, and as a result all 
manner of trouble arose when the oil came to be 
used. 



224 THE EXPERT HOUSE PAINTER 

The oils which are most commonly used for this 
purpose we have found to be: 

Rosin oil, mineral oils, such as benzine, kerosene, 
and even some grades of lubricating oils; fish oils, 
China wood oil, Soya bean oil, corn oil, hemp or 
rape oil. 

When these are added by the jobber or retailer 
they are almost certain to seriously affect the quality 
of the oil and cause damage to the paint with conse- 
quent loss of time, money and reputation to the 
painter. The cheapest and most frequently used 
adulterants are the petroleum oils. These are 
lighter in weight than linseed and consequently re- 
duce the specific gravity. Rosin oil is, therefore, 
frequently added with them to increase the specific 
gravity. Fish or menhaden oil is sometimes used, 
the latter forming a constituent of various smoke- 
stack paints, but should never be used for interior 
work on account of the smell given off by the dried 
paint. It also causes darkening of the color in time. 
The worst linseed oil substitutes are those consisting 
of solutions of rosin in hydrocarbon oils, which are 
again mixed with tar oil and rosin oil. Such imita- 
tions dry without durability. Other substitutes are 
obtained by dissolving metallic resinates in tar oil 
or petroleum. Many substitutes are made with rosin 
oil, but they are apt to dry very slowly and remain 
sticky, and when used for painting will damage even 
a subsequent good coat, so that nothing but actual 
scraping off will remedy a coat of paint which proves 
defective as a result of using rosin oil. 

An oil sometimes used for adulteration is corn oil, 
which, however, possesses practically no drying prop- 
erties and can only be used in small quantities with 
linseed. 

China wood oil, or tung oil, is rapidly becoming 



LINSEED OIL 225 

conspicuous as a linseed oil substitute. As received 
from the Chinese, it is often heavily adulterated and 
considerable variation in shipment of this oil is found. 
The crude oil dries with extreme rapidity, but with 
an opaque film of wax-like character with no elastic- 
ity. It cannot be used in its raw state, and requires 
to be chemically treated. This has to be very care- 
fully done or else the result is a failure. Many firms 
have tried to introduce this oil as a substitute for lin- 
seed oil, but without any great measure of success. 
When heated to about 350 F. it suddenly thickens 
to an insoluble gelatine-like substance which cannot 
be softened again. It is nearly always used in ad- 
mixture with linseed oil. Its characteristic lard-like 
odor can usually be detected, even when only small 
quantities are present. This is found to be an ob- 
jection to it for use as a varnish. It does not dissolve 
in alcohol and hence cannot be used for spirit var- 
nishes or lacquers. In cheap oil varnishes it dries with 
a flat, frosty, crawling surface. Varnish makers 
claim that by the use of China wood oil a satisfactory 
varnish may be prepared, but the process is one of 
much delicacy, and few manufacturers have been 
successful with it. The rosin content of the treated 
wood oil is also apt to cause checking when it is used 
to any extent in paints for the protection of wooden 
surfaces. 

Soya bean oil is used by some paint manufacturers 
who claim that certain pigments are less liable to 
harden in the package when ground in an oil mixture 
containing Soya bean oil than with straight linseed 
oil. It, however, is not really a drying oil, but a 
semi-drying oil; on this account it is not nearly so 
good as linseed oil for paint purposes. Tests which 
have been made with this oil show it to dry much 
more slowly than linseed oil, and the color of the 



226 THE EXPERT HOUSE PAINTER 

paint becomes darker upon exposure than is the case 
with a paint made from straight linseed oil. 

Some of these adulterations can be detected by 
the painter by the ordinary application of the senses 
of smell and sight, also by observing the results ob- 
tained. In most cases, however, only a chemist can 
accurately do this, and then only with considerable 
difficulty. 

It can thus be seen that linseed oil as a paint oil 
caHnot be replaced by any of the other drying oils 
now commercially available for work of the highest 
character, and this is the only kind of work which 
any painter wishes to do if he has any regard for his 
own reputation and for the interests of his customers. 
We have endeavored to explain the properties of 
linseed oil, which make it so valuable to painters, 
and to the paint manufacturer, and also the reasons 
why linseed oil is superior to any other oil for these 
purposes. The statements which we have made and 
the facts given above have been proven many times 
by men of the highest standing and reputation, as 
well as by the actual experience of nearly every 
practical painter. The time may come when a process 
will be worked out which will produce other oils of 
equal quality, but this has not yet been done, nor 
have the claims made by manufacturers of other 
paint oils that they are the equal of linseed oil in 
every respect been proven by practical experience and 
trial. 

Testing Linseed Oil. — Chemical analysis is the 
only accurate way to test an oil. As this is not prac- 
ticable with painters and only can be done at consid- 
erable cost, in the laboratory, we must use some of 
the simpler means. There is the "spot test," a very 
reliable method. On a sheet of glass place a spoon- 
ful of oil, and allow it to flow out; then with a 



LINSEED OIL 227 

dropper let fall ift the middle of the oil a drop of 
concentrated sulphuric acid; if the oil is pure the acid 
will not spread, but will burn the oil in a spot of about 
34 inch diameter. If the oil is impure either a bloom 
will appear on the surface surrounding the spot, or 
minute veins will radiate from the spot towards the 
body of the oil. 

The cold or freezing test is another good one. 
Pure linseed oil becomes about the consistency of 
lard at a temperature of about i6° to 25 ° F. An oil 
that becomes as thick as lard at a higher tempera- 
ture than this is not pure linseed oil. Cottonseed 
oil congeals at about 5 above zero, F., making 20 
to 25 ° difference between it and linseed oil; fish oil 
at about 32 F., while the oil from warm-blooded 
animals will congeal at a point above this. Rosin oil 
congeals at zero, rapeseed oil at about 25 ° F. above. 
Hence, when any of these oils are mixed with linseed 
oil the resultant oil will assume a semi-solid appear- 
ance at some point above 16 F., below zero, accord- 
ing to the kind and amount of adulteration of oil used. 

A good quality of linseed oil, raw, will gain from 
16 to 1 7^ per cent, in weight in drying, and boiled 
oil, say, from 15 to 17 per cent. An oil containing 
benzine or turpentine will show a decided loss during 
the first hours of drying and some of the cheap oils 
used in paint will show an ultimate loss in weight, in- 
stead of gain. With a chemist's balance at hand the 
quality of the oil may be ascertained by mixing it 
with an excess of an inert substance, say, silica or 
barytes, and then weighing the mass from time to 
time, as it dries. 

Substitutes for boiled linseed oil are, as a rule, 
mixtures of rosin, linseed oil, more or less, crushers' 
driers, and some thin oil, mineral most likely. Many 
of these substitutes contain rosin or rosin oil, ben- 



228 THE EXPERT HOUSE PAINTER 

zine and kerosene oil. If the painter will use an 
adulterated oil it would be money in his pocket to 
make it himself. The use of adulterated oil cannot 
be defended upon any rational grounds, and the man 
who uses it injures his patrons and himself. 

A very simple and effective way for testing linseed 
oil suspected of containing petroleum oil is to fill a 
bottle about one-third full of the oil, then almost fill 
with a strong solution of sal soda or potash. Shake 
well, when the mineral oil will separate from the lin- 
seed oil, the latter forming with the lye a soap. The 
mineral oil will not saponify, but remains unchanged. 

To test an oil for rosin, take equal volumes of the 
oil and grain alcohol and mix them well by shaking 
in a test tube or long bottle. Let stand for one hour, 
then pour the alcoholic layer into another clean test 
tube or bottle. Into this alcoholic solution let fall 
two to five drops of solution of sugar of lead (lead 
acetate). Set aside for six hours. If the oil con- 
tained any rosin a permanent white sediment will be 
found precipitated on the bottom of the bottle. This 
test will also indicate if a boiled linseed oil is a true 
kettle-boiled oil, or a so-called "bung-hole" boiled oil 
— raw oil to which has been added a rosin drier. 

The presence of mineral oil was formerly easily de- 
tected by its bluish color or bloom, but the adulter- 
ators have now succeeded in eliminating this, and 
hence other means must Ire employed in detecting its 
presence. Placing some suspected oil on the palm of 
the hands and smelling odor of the same, after 
briskly rubbing the palms together, causing heat, will 
disclose the easily recognized smell of fish, rosin or 
mineral oil. Linseed oil has a sweet and agreeable 
odor, when fresh, but old oil may be quite different 
from this. 

Oil adulterated with petroleum oil will have a 



LINSEED OIL 229 

cloudy appearance, and the film after drying will be 
easily removed by scraping with the finger nail. 
Pour out some oil on a piece of window glass, made 
perfectly clean, and note the time required for dry- 
ing. Raw oil takes several days, but it will finally be- 
come dry; boiled oil will dry in from 7 to 12 hours, 
but much depends upon the temperature or atmos- 
pheric conditions. 

Oils may be divided according to their drying 
properties as follows, giving the principal oils of each 
class : 

Drying — Linseed, walnut, tung, poppy, sunflower. 

Semi-drying — Rape, Menhaden, cotton, hemp, ses- 
ame, Soya bean, maize (corn). 

Non-drying — Olive, palm, castor, almond, cod 
liver. 

Linseed oil has more useful qualities than any 
other single paint oil. A few other oils have merit, 
but cannot be used in the raw state in the same man- 
ner that linseed oil is used. Raw linseed oil is ex- 
tremely elastic, expanding and contracting with any 
kind of surface on which it may be used. It is also 
very penetrating, excepting in cold weather, when 
the addition of a little turpentine aids it. When raw 
linseed oil is spread on a flat surface, either with or 
without the addition of pigment, it gradually crys- 
tallizes into a hard film, there being absolutely no 
evaporation whatever. The best linseed oil, there- 
fore, is the one that will absorb the greatest amount 
of oxygen in the least time, in other words, that will 
dry in the quickest time. A fair or average good 
linseed oil when spread out in a thin layer as sug- 
gested, on a smooth surface and under favorable con- 
ditions, should dry and harden in from five to seven 
days. 

Double-boiled oil is that which has reached about 



230 THE EXPERT HOUSE PAINTER 

300 C. When boiled four hours at the maximum 
heat the oil will lose exactly 5 per cent, of its bulk. 
This adds also to the cost of the boiled oil. Boiled 
oil is not as elastic as raw oil, but it dries quicker, 
and makes a gloss finish that raw oil cannot. Boiled 
oil is in fact a varnish, though it does not dry as 
hard as a gum varnish, of course. Painters, as a 
rule, when using boiled oil, use too much, which 
causes wrinkled surface. As to which is the better, 
raw or boiled, there has been some discussion among 
practical painters. Boiled oil certainly has some ob- 
jectionable features, and raw oil few or none, prac- 
tically speaking. Boiled oil has a tendency to blister, 
and it will wrinkle the paint if the painter is not 
careful in its use. The trouble is, that the oil dries 
on top, leaving the inside soft, which when the sun 
strikes it will turn to blistering. The addition of 
some turpentine to boiled oil will help it, hardening 
it some, and red lead with it seems to make a good 
coating. Also graphite paint seems to do better with 
it. Double-boiled oil is particularly unsafe on ex- 
terior work. A correspondent of the Carter Times 
believes that in a cold climate boiled oil is better than 
raw oil, but that in a warm climate raw oil is best. 
He says he has used boiled oil on seacoast painting 
with success. An old painter, who as a boy helped 
boil oil in the shop, says such an oil paint lasted 
from 15 to 16 years to his own knowledge. Another 
painter tells of a job of painting he did more recently, 
for which he received $10 extra for using an oil 
that he himself boiled for the job, and that job was 
in good condition ten years later; there was no scale, 
crack, or other sign of deterioration. These facts 
are of great value to us as painters. 



PAINT TROUBLES— THE CAUSES AND 
CURE 

Mildew. — Mildew comes from minute spores or 
seeds of a plant. There are two kinds, one, a para- 
site, living on live tissue; the other lives on dead mat- 
ter. In the latter we recognize paint mildew. This 
mildew occurs as well on linen, wall paper, leather, 
etc., in the presence of dampness. Smut, vegetable 
rust, etc., are other forms of this mildew. It thrives 
best where there is heat and moisture. On paint, 
developing from an invisible spore, in a few hours 
it becomes a quite visible black spot or speck, thus 
growing rapidly into a dark brown or reddish splotch. 
These black or dark brown spots or streaks are by 
far the most serious growths, destroying the life and 
the adhesive quality of the paint, causing it to lose 
color and to become powdery. If it is permitted to 
remain it will destroy the wood, which will then have 
the appearance of having been burned, and the black 
or brown spots, under a microscope, will have the 
appearance of soot. Surfaces painted with pure 
white lead or zinc oxide are less liable to mildew than 
those painted with ochers or similar earth paints. 
Being ground very fine, lead and zinc form a harder 
surface and one more impervious to moisture, hence 
more immune from mildew. Probably induced by 
dampness or shade, mildew on paint can be avoided 
by application of the paint only during dry weather. 
Warm or foggy weather favors the trouble. And it 
may occur between two coats of paint, or on the bare 

231 



232 THE EXPERT HOUSE PAINTER 

wood, under the first coat of paint. Paint applied to 
a cold surface and followed by warm weather may in- 
duce it. Linseed oil containing some foots or 
flocculent matter may cause mildew. If the trouble 
occurs on one building and not upon one adjoining 
and painted at the same time we may direct suspicion 
upon the wood. Too much driers in the paint will 
sometimes account for mildew. Fatty paint also will 
cause it, the soft paint never drying hard, and under 
certain weather conditions it will favor mildew. 
Mildew on paint is not of frequent occurrence, and 
on hard paint it may not occur at all. It is thought 
that zinc oxide paint never mildews, and as a rule 
those paints only that are made up of coarsely ground 
pigments mildew. Mildewing occurs where the 
building is exposed to ocean air. 

To remove the mildew there are several methods. 
Sandpaper the mildewed part well, then apply tur- 
pentine, rubbing it well. After the turpentining 
sandpaper again, then apply a coat of dead flat paint. 
The subsequent coats of paint may be such as are 
usually applied. In close rooms, cellars, etc., mildew 
may be treated with powdered sulphur, dusting it on. 
Or sulphur fumes may be used. This method has 
long been in use by greenhouse people. Dark or 
close rooms that show mildew on paint or walls 
should have plenty of ventilation. Fresh lime with 
bluestone is efficient against mildew. As mildew 
occurs also on drop cloths and scaffold ropes, causing 
rot, the bluestone solution is advised. Mildew at the 
seaside may be prevented by using a compound paint 
having the following formula: Zinc oxide in oil 80 
per cent., white lead in oil 20 per cent., mix with 
enough turpentine to form a flat paint. That is the 
first coat. The second coat may be made of 15 
per cent, lead, 25 per cent, zinc, thinned out with raw 



PAINT TROUBLES— CAUSES AND CURE 233 

linseed oil. This paint is considered by those whose 
business requires them to do sea-shore painting as the 
only one that will stand the wear and prevent mildew. 

For brick and concrete walls subject to mildew 
try the following formula: Dissolve a pound of 
paraffin wax in a gallon of benzine and apply the 
liquid with a paint brush, rubbing well into the sur- 
face. A master painter says that he once washed 
down a mildewed house with soap powder dissolved 
in hot water; he followed this with rinsing down 
with clear water. When this was dry he applied a 
paint made from 85 per cent, white lead and 15 per 
cent, zinc white. He added that the work looked 
well for a long time after that. In fact, the turpen- 
tine and soap powder treatments are about the only 
sure remedies. 

Peeling of Paint. — Sometimes called scaling, 
and is usually accompanied by cracking. The causes 
are many. Lumber not dry when painted, dampness 
back of the wood, ocher priming, defective old paint 
coat, resinous wood, the use of boiled oil in the prim- 
ing coat, a hard pigment forming the paint, such as 
zinc or barytes, for primer coat, or too much of such 
pigment in succeeding coats, petroleum oil in the 
paint, bad paint mixing, and fatty linseed oil. Paint 
applied over a coat thinned with more or less mineral 
oil will certainly peel. The use of hard pigments, 
such as ocher, zinc, barytes, etc., will cause a very 
hard surface, and as it lacks in elasticity it is bound 
to come off. A primer made up of dark pigments 
will not hold well. This primer will cause cracking 
and peeling when the painted surface is much ex- 
posed to the weather, and blistering in shaded or 
protected parts. 

The priming coat is the important one. Use the 
best raw linseed oil and white lead, make the paint 



234 THE EXPERT HOUSE PAINTER 

thin, rub it in well and let it become perfectly dry be- 
fore applying the second coat. And it is advised to 
make up the succeeding coats from the same ma- 
terials, then there will be a natural bond of the coat- 
ings. 

Paint Scaling from Iron or Steel. — The scal- 
ing of paint on iron, steel, zinc, etc., is due to any 
one of three causes: sweating, expansion, and con- 
traction, taking it for granted that the surface has 
been properly primed and painted. Sweating is 
moisture, and this gets under the paint and off it 
goes. Contraction and expansion are identical in 
effects; the process causes the paint to crumble and 
fall off. Zinc and galvanized iron have a non-porous 
surface, and paint gets no foothold thereon. Such 
metals should be treated with an acid, as directed in 
another part of this work. 

Blistering of Paint. — This trouble is like peel- 
ing in some respects. And the cause is the 'same in 
both cases. Dampness, poor paint, unfavorable con- 
ditions, cheap ocher priming, fat priming paint, prim- 
ing coat not dry when second-coated, coal oil, ben- 
zine, low grade ready-mixed paint, sappy wood, etc. 

It is worthy of note that where the best white lead, 
oil and japan driers are used, and such in former 
years were employed exclusively, there is no scaling, 
blistering, etc. The use of the best paint materials 
and their proper application are the sure preventives 
of all these troubles. By proper application means 
the preparation of the surface also. Dampness will 
cause blistering, hence you must see that the wood 
is dry before the paint is applied. But sometimes the 
wood seems dry and yet is not. Yet if dry enough 
to absorb a proper amount of the paint you will not 
likely have any blistering. If the wood is damp 
enough when painted the paint gets no hold and in 



PAINT TROUBLES— CAUSES AND CURE 235 

time the sun will cause it to leave the wood. A paint 
blister is caused by heat and moisture ; the heat vapor- 
izes the moisture and softens up the paint; the vapor 
raises up the paint into blisters. 

It is a common observation that dark paint is more 
liable to blister than white or very light-colored 
paint. This fact may be explained in this manner: 
The dark pigments take up more oil than the lighter 
colored pigments, and do not dry as hard nor as 
quickly as the other pigments named. Hence if the 
coat on top of this is applied too soon, or before the 
under one is really dry, the under coat will soften 
under the heat of the sun and cause trouble. Notice 
how dark bronze green on window blinds so often 
is blistered. Look at the door frame or window 
frame done in white, let us suppose, and it will show 
no blistering. The more lead or zinc mixed with the 
dark paint the more durable it will prove. Then it 
is to be remembered that the light colors reflect the 
heat, while dark colors absorb it. 

Old painted surfaces should be treated first to make 
it sure of taking and holding paint. Wash with soap 
powder and water, or rub with turpentine, following 
with a paint containing some varnish. Very heavy 
or thick paint will sometimes cause blisters. 

It is commonly believed that blistering is more 
likely to occur when boiled oil is used. Boiled oil 
should never be used in the priming coat. Often 
the painter uses too thick a paint and does not rub it 
out enough. Probably a third more paint is used on 
an outside job than necessary; thinner coats, well 
rubbed in-and-out will give better results and take 
less paint. Some painters favor applying the prim- 
ing coat liberally, in order to get the wood filled with 
the oil; but the surplus should not be left on the sur- 
face, but be brushed off. With many woods a little 



236 THE EXPERT HOUSE PAINTER 

turpentine in the priming coat will help it penetrate 
better. It is worthy of mention here, in this con- 
nection, that the board in the shop on which the men 
rub out their brushes, and which is usually coated to 
a great depth with paint, never scales, cracks or 
blisters. This is no doubt due to the fact that those 
rubbings result in the deposit of a very thin coating 
each time, and are of course not exposed to the 
weather. 

Paint sometimes blisters over pine knots that have 
been treated with shellac and too heavy a coat put 
on. Shellac varnish offers a very hard surface, and 
paint will not attach to it very well. When the hot 
sun gets at such a spot blistering is bound to occur. 

Paint Spotting. — If the lumber is of uneven tex- 
ture, with sappy and hard places, the paint is sure to 
show it. The best plan is to prime such lumber, say, 
the weatherboarding, and allow the job to stand un- 
til all the spots have developed, after which go over 
the surface and touch up all the parts where the 
paint has sunk in. Laps, due to poor painting, will 
show in the finish and cause spots. The disfigure- 
ment will become more pronounced as time goes by, 
by the fading out of the thin places on the surface. 

Streaked and Spotted Painting. — Streaked or 
spotted painting may be due to two or three causes. 
It often happens that the pigments made use of are 
what may fairly be termed "composite," by which is 
meant different chemical substances constituting pig- 
ments; and often in cases where the pigment is nearly 
all one chemical substance, as in chrome yellow or 
white lead, it frequently follows that materials made 
at different times differ in both shade and fineness, 
but are subsequently mixed together. In cases where 
a pigment is composite, our experiments seem to in- 
dicate that there is a tendency for the very finest 



PAINT TROUBLES— CAUSES AND CURE 237 

particles to separate from those which are coarser, 
so that each successive brushful taken out of the 
bucket may contain a larger percentage of the fine, 
and a smaller percentage of the coarse particles than 
the previous brushful, at least while the first half of 
the bucketful is being used. In some paints it is 
actually noticeable that the last end of the job is 
of a different shade from the first, especially if the 
painter has not stirred his bucket of paint frequently. 
This separation of the different constituents of the 
paint is also especially true of those composite pig- 
ments which are made up of some heavy bases, with 
some organic or light coloring matter; for example, 
Tuscan red, which, as is well known, is a mixture of 
oxide of iron known as Indian red, with some of the 
red lakes. It may fairly be claimed that this diffi- 
culty of spotted or streaked work is more a question 
of care on the part of the painter than of the proper 
mixing or proportioning of the paint, and this is to 
a certain extent true, but it is not wholly so. Poorly 
ground paint is especially liable to give streaked re- 
sults, and no amount of subsequent stirring or mixing 
on the part of the painter will make a pigment con- 
sisting of very coarse and very fine particles a good 
one to spread, or make it give a good-looking job. 
Both fine grinding and great care on the part of the 
painter are essential to obviate this difficulty. It, of 
course, goes without saying, that those pigments 
which, from their nature, have a tendency to produce 
this difficulty, should not be mixed where it can be 
avoided, although in our belief fine grinding will 
almost entirely overcome it with any pigments, what- 
ever they may be. 

Paint Streaking, Spotting, Etc. — If the paint 
streaks under the brush it may be sure that the paint 
was poorly mixed and not strained. But if the 



238 THE EXPERT HOUSE PAINTER 

streaking occurs after the application and drying 
of the paint the cause is probably due to dampness, 
etc. 

If the oil paint in time shows loss of gloss in spots 
the cause is due to the driers used. Sometimes a 
spotty condition of the finish coat may be due to hav- 
ing a different color under the last coat. Litharge 
and sugar of lead used as driers will often cause 
spotted paint. 

Paint Creeping or Crawling. — Sometimes 
called cissing. The paint draws up in little patches, 
and will not hide the surface properly. Cold weather 
and a hard gloss surface are the principal causes. 
In either case rub the surface with a rag wet in 
vinegar or benzine. A painter tells us that he covers 
a bit of block with a piece of woolen cloth or soft 
leather and rubs the part with it. In any case the 
object is to remove the gloss. 

Running of Paint. — This occurs most frequently 
in late fall and winter, when the surface is cold and 
possibly somewhat damp. If it is a raw oil paint, it 
is more likely to run than where boiled oil is used. 
Add more driers to the raw oil paint to cause it to 
dry sooner. A paint that is too heavy for the kind 
of paint that it is will run; to explain, if it is a thin 
paint and you try to apply it so as to have a heavy 
coating it is bound to run. When the contractor tries 
to skimp the job by using paint that is entirely too 
thin it runs. The finer a paint is ground, and the 
finer its constituent pigments, the less liability to run. 
Also, a paint after its application should dry in a nor- 
mal period, otherwise it will be apt to run. The paint 
should set in from four to eight hours. 

Wrinkling of Paint. — This sometimes occurs 
when frost catches the freshly painted surface, par- 
ticularly if the paint was made thin and flowed on. 



PAINT TROUBLES— CAUSES AND CURE 239 

Wrinkling will occur in hot weather too, if too thin 
and full. 

Pitting of Paint. — This is not an inherent fault 
of the paint, but is due to mechanical causes or acci- 
dents, such as the falling of rain or hail before the 
paint is dry. 

Thinning of White Lead Paint. — By this is 
meant the thinning that sometimes occurs with a pot 
of white lead paint some time after it has been mixed. 
Pulp lead, or white lead that has been ground in 
water instead of oil, and the water not entirely elim- 
inated, will cause this thinning by forming an emul- 
sion with the lead and oil. Also excess of hydroxide 
in the lead will cause it. 

Frosted Paint. — This mostly occurs on painted 
work that is fresh when night falls, the damp frosty 
air injuring the gloss of the oil. The frosted surface 
is rough and soft, like rubber. Prevention is better 
than cure. In winter no outside painting should be 
done after noon, at least not on those parts that are 
exposed to the prevailing winds. A cloudless night is 
sure to frost the paint. The worst effect of this frost- 
ing is appearance, and the parts may be treated by 
rubbing with an oily rag. 

Trouble with Dark Shade of Blue Paint. — 
Some blues of a rich dark hue are composed of some 
black with the blue. The black is of less density than 
the blue, hence is apt to come to the surface in appli- 
cation, causing streaks of darker color than the paint 
itself. To avoid this add a little bluish-gray paint to 
the blue when the latter is to form a body color. The 
gray may be made from white lead and black, adding 
also a little of the blue. It must of course be spar- 
ingly used or it will change the color of the blue body 
paint. 

Why Graining Cracks. — Expert grainers give va- 



240 THE EXPERT HOUSE PAINTER 

rious causes. Some say that it is due to unripened 
varnish, others that the color used in graining was 
fatty. Or the ground color contained too much oil. 
The surest body paint for graining grounds may be 
made from white lead of the best grade tinted with 
the purest and finest ground pigments, the mass thinned 
with proper proportions of turpentine and driers only, 
there being enough oil in the lead and colors to bind. 
The idea is to have such a ground dry flat. The 
graining color should be made fresh for each day's 
use ; at least it should not be used after a day or two. 
Do not add any oil to thin up with, as it is being 
used. The graining should be given two months for 
drying before varnishing it. Some grainers rub exte- 
rior graining with oil, rather than use varnish. Never 
use a heavy-bodied varnish on graining. Rather, use 
a light-bodied varnish, containing much turpentine. 

Tacky Paint. — Cheap, ready-mixed paints some- 
times dry tacky, and always when they contain more 
or less rosin oil. A soft under coat of paint may 
cause the finish to dry tacky. This is always the case 
where too much driers have been used in the under 
coat. Tacky varnish is a frequent trouble with church 
pews, and if the varnish has been applied over a poor 
paint it is sure to occur. Some colored paints are very 
liable to dry tacky, as when they contain much poor 
drying pigment, like lampblack, yellow ocher, barytes, 
clay, or silica. Drop black is another poor drier. 
Chrome yellow in such a compound would prove very 
bad. It is a good self-drier, but in connection with 
the pigments mentioned the result would be bad. 
Greens made as above are what we have in mind, as 
they seem particularly bad. Prussian blue and chrome 
yellow, both good self-driers, would make a green 
less unreliable. Seashore painters have much trouble 
with such greens, also with Indian red and Tuscan 



PAINT TROUBLES— CAUSES AND CURE 241 

red. They try to avoid trouble by adding a little spar 
varnish to the last coat, one pint to the gallon of paint. 
This gives a paint having high gloss and a hard sur- 
face after drying, proof against moisture. 

Salt Affecting Paint. — For surfaces exposed to 
the action of salt, as in warehouses where salt is stored 
or ships carrying salt, red lead paint has been found 
the best and most resistant. 

Brush Marks on Painted Surface. — The diffi- 
culty of brush marks remaining prominent on paint 
is largely a question of the relative amounts of liquid 
and pigment. The nature of the pigment used also 
comes into the question, and the nature of the grind- 
ing, whether fine or coarse. But perhaps the most 
important item is that of the liquid used. If excess 
of a thick japan drier be used, or heavy boiled oil, 
other things being equal, brush marks will be more 
prominent than where raw oil and limpid japan have 
been used, though the proportions of liquid and pig- 
ment used will still be the important consideration. 

Chalking of White Lead Paint. — Under the 
head of white lead this subject will be more fully 
treated than is feasible here. Some think that chalk- 
ing indicates a poor white lead, but not so, for the 
very highest grades will chalk. Others believe that 
the trouble comes from adulteration, mentioning whit- 
ing as a probable adulterant, but then white lead of 
the purest will sometimes chalk. It is the opinion of 
many experts that where plenty of oil is incorporated 
with the white lead in making white paint the chalk- 
ing will not occur. 

Painting over Aniline Red. — There are two ani- 
line reds, one known as a bleeding red, the other non- 
bleeding. To ascertain which, when you have a job 
of painting over aniline red, wet a rag with some 
turpentine and rub it over the red; if it is not a fast 



242 THE EXPERT HOUSE PAINTER 

red some of it will show on the rag. Shellac is com- 
monly advised for coating over bleeding red, but it 
is known that the dye is powerful enough to come 
through that hard substance, if the red is spirit stain, 
though some have success from applying two coats of 
shellac and a coat of washable water paint, and in 
very bad cases two or more coats of the water paint 
may be necessary. A chemist gives the following for- 
mula for preventing the stain from coming through: 
Take copperas one pound, hot water one gallon ; place 
the copperas in the hot water, where it should dissolve. 
In another vessel mix together one pound of alum and 
one gallon of hot water. When both are dissolved 
mix together and apply freely. The chemical liquid 
acts as a mordant, preventing the red from staining 
through the paint. 

Yellowing of Inside White Paint. — White 
paint, whether made up of lead or zinc, will darken 
unless given plenty of light. This is why inside white 
so often turns yellow, though it is not the sole reason ; 
if too much linseed oil is used in the mixing, the paint 
will yellow. This is why the last coat, or on the best 
work the last two coats, are mixed with turpentine 
only, and in some finer jobs there is practically no oil 
at all in the paint; turpentine does not act as a dark- 
ener, though benzine does. Should the painter have 
a room to paint, and which once was white but now 
old ivory, let him first treat it to a thin coat of white 
shellac. This may not prevent the old yellow paint 
from affecting the new white paint, but in most cases 
it will. 

Livering of Mixed Paint. — Ordinarily a pot of 
mixed paint may be left standing for a long time 
without livering or thickening, and at the worst all 
that would happen would be its getting more or less 
fatty or oxidized. Hence livering is not the ordinary 



PAINT TROUBLES-CAUSES AND CURE 243 

matter, and is no doubt due to the action of some 
soap-making element in the lead or driers used in mix- 
ing the paint. Certain pigments are alkaline, suffi- 
ciently so as to cause the oil to saponify. Soap is the 
result, but not the soap in common use; it is a me- 
tallic soap, which are driers and they act upon the 
paint to cause it to dry with a hard film. Saponifica- 
tion of the oil may also occur by mixture with either 
lead or zinc. Again, some leads, notably those known 
as pulp leads, when mixed with oil into a paint will 
liver up over night. Where a pigment or lead has 
been burned in the grinding it will cause livering. 



CONCERNING THE MODERN PAINT SHOP 

The ancient paint shop was located in a dark, damp 
cellar because this was the cheapest place the painter 
could find for the purpose. Of its faults we need not 
speak; they were and are too obvious. It served as 
storage room and mixing shop, office and reception 
room. The following description of a modern paint 
shop and business establishment combined is from the 
pen of a prominent master painter. The painter 
thinking of starting into the business of painting and 
decorating will find its perusal and study full of prac- 
tical value. 

"Many shops which can now be truthfully called 
modern were no better than their neighbors in the 
beginning, but have had proprietors who were alert 
and observing, and did not fail to apply to practical 
use any idea or suggestion that seemed worthy of 
adoption, and who were at the same time endeavoring 
to work out for themselves some of the problems of 
the day. And, while many a good man has been able 
to live for years and to raise his family honestly and 
well on the proceeds of a shop conducted in some 
dingy cellar or shed at the back of his residence, 
neither of these could be classed as modern paint shops 
by any stretch of the imagination, and neither they 
nor the business conducted in them are the kind con-, 
templated in the writing of this paper. 

"The modern painting and decorating business gen- 
erally has its headquarters or office conveniently lo- 
cated. Its store room, stock room and workshop may 
be in a back street, or in some out-of-the-way place, 
but is then connected by telephone to the office, and 

244 



CONCERNING THE MODERN PAINT SHOP 245 

thus is in direct touch with it; but it is even better 
to have office, store room and workshop under the 
one roof if possible. 

"And further than that, the truly modern painting 
and decorating business will generally have in connec- 
tion with its office a showroom for the exhibition of 
designs and other materials it is called upon to use 
from time to time; a laboratory for experimenting or 
testing materials; a workroom for the preparation of 
such materials as can be gotten ready before being sent 
out; a stockroom, with adequate shelving for the sep- 
aration and ready supervision of the various articles 
in frequent use, a storage place for materials in bulk, 
and shelter of some kind for ladders, planks, and other 
tools; and last, but not least, a space wherein a sep- 
arate locker can be maintained for every employee in 
the concern. 

"The office of such a concern is conveniently located 
because, even with the telephone facilities made use of 
so extensively to-day, the head of it finds many cus- 
tomers coming to see him (if he is accessible) where 
otherwise he would be compelled to lose valuable time 
in calling upon clients who are perfectly willing to do 
the running, and even better pleased to visit his office, 
where explanations can be more readily made, sam- 
ples of goods exhibited, more satisfactory conversa- 
tions held and instructions given. Such an office gen- 
erally includes a private compartment for the propri- 
etor or manager, with suitable tables upon which 
sketches can be prepared or plans set out for conven- 
ience in estimating, and this compartment is so sit- 
uated that its occupant can leave his work at a mo- 
ment's notice and remain away for any reasonable 
length of time without any necessity for disturbing 
his unfinished work or feeling that others will be med- 
dling with it during his absence. 



246 THE EXPERT HOUSE PAINTER 

"The showroom in connection with such an estab- 
lishment is usually arranged with partitions or screens, 
so that several parties can be consulted at the same 
time without any danger of interference. This is a 
necessary as well as a profitable provision, as it is a 
hard proposition for a clerk in an establishment to 
interest one party in the selection of materials or a 
scheme of decoration for a small house or a few rooms, 
while in plain sight and hearing the proprietor is dis- 
playing designs and materials for decorating a man- 
sion, and the contrast need not be, by any means, so 
great as to make the situation difficult and embarras- 
sing for all concerned. There is, therefore, ample 
provision made for the separation of all clients who 
may chance to need attention at the same time. 

"The laboratory, so called, may consist of only a 
part of the stockroom or storeroom partitioned off, 
but is provided with means to raise the temperature in 
winter, and to protect any experiment that is under 
way; and is also fitted with a table of some kind, a 
Bunsen burner, small shelves for materials, and a few 
tools that may be found necessary in testing materials 
or making experiments. 

"The workroom is light enough to facilitate the 
mixing of colors when necessary, and is provided with 
scales, weights, and measures, shelving for materials 
in use, and is so located as to be easy of access for the 
expressman or carter. 

"The storage space and tool shelter may be ever so 
rough, but it is sufficient to protect its contents from 
the elements, and, like the workroom, moderately ac- 
cessible, to prevent any waste of time and energy in 
carrying materials or tools to and from the wagon. 
The lockers, which are large enough to hold a hat and 
coat, a pair or two of overalls, a brush pot and a few 
other tools, are provided with a lock safe enough to 



CONCERNING THE MODERN PAINT SHOP 247 

form some protection to its contents, and one that is 
not a duplicate of the others. There is also in the 
possession of the proprietor an extra key for each 
lock, or a master key, that will open any of them, as 
otherwise some of the men often find^ it necessary 
to return home before they can get at tneir tools. 

"It may be impossible to figure these lockers as a 
great money-getter, but they help to inculcate neatness 
on the part of the employees, prevent unpleasantness 
or hard feeling over the mislaying or changing of 
brushes or tools, and in this way they make their cost 
seem insignificant. These lockers also enable each man 
to be sure that his belongings cannot be interfered 
with if set aside for a few days. 

"To further promote neatness and prevent the 
smeary appearance so characteristic of the old-time 
shop, some special place is ofttimes prepared for wip- 
ing out of brushes, and for this purpose I could rec- 
ommend no better plan than that illustrated in a copy 
of one of the trade magazines. It consisted of a shal- 
low box, which could be nailed to the side of the 
building or wall, had several easily detachable boards 
on the back that could be removed when too thick with 
paint, and a door or cover on hinges, which could be 
kept closed to hide its unsightly interior. 

"An establishment such as has been described, al- 
ways supposing that it has the proper skill and expe- 
rience at the back of it, and a proper complement of 
men — is ready at a moment's notice to carry out the 
wishes of a client in reference to almost any kind of 
contract, whether it be to finish the largest skyscraper, 
to renew the finest of hardwood, or to decorate an 
interior in the most artistic manner; and is even able 
and ready to select and procure its furniture and fit- 
tings." 



SELECTING COLOR COMBINATIONS 

It seldom occurs that the painter is asked to choose 
the colors that are to be applied to a structure, this 
being the privilege of the customer. Nevertheless the 
painter should know how to choose proper combina- 
tions for his own satisfaction and for use when a cus- 
tomer happens to ask his advice. The selection of 
the colors for a building is not an easy task in some 
cases, and always it is a matter of color science, the 
harmonious arrangement of colors being more than the 
mere exercise of the fancy or individual taste. 

It is advised that the painter first learn the theory 
of color. There are but three distinct colors to begin 
with, namely, red, blue, and yellow. From these all 
the colors that he will ever use or find available will 
be obtained by mixture. 

There are some rules governing the combining of 
colors for structural work that will be given here, and 
the painter should get them in his mind. Each build- 
ing demands its own coloring, this being determined 
by its location, surroundings, etc. There are a few 
colors known as "safe/' so called because they will be 
found to give satisfaction in most cases. These col- 
ors are mainly the reds, white, the grays, yellow and 
brown. For an irregular, nondescript house, a house 
really of ugly architecture, the grays and browns do 
very well; the gray should be on the yellow cast, 
rather than of a colder shade. For the country house 
white is standard, and this will apply to almost any 
formal type of house. The white house in the coun- 

248 



SELECTING COLOR COMBINATIONS 249 

try shows up well in the distance, whether surrounded 
with its summer environment of trees and shrubbery, 
or in winter, amid bare limbed trees and leafless shrub- 
bery. A low-lying, squatty house demands light and 
cheerful colors, and such will tend to increase the ap- 
parent height of the building. With the use of dark 
colors the effect would be just the opposite. 

The Colonial style should not be painted with dark 
or pronounced colors, such as red, brown, etc. A pure 
white body nearly always answers, but in some forms 
of the Colonial a dark bottle green trim serves well 
with a white body. An old frame or old stone house 
will usually look attractive done with white body and 
nearly any shade for the trim, with green blinds. This 
green I think should usually be medium chrome, not 
the darker shade, nor the bronze or blue shade. Say 
it is a stone farm house, well situated ; it will do with 
yellow body or white, with white trim and green 
blinds. Doors may be grained oak, or be white, both 
will look fine. Or the body of the house may be a 
brownish-gray, with white trim, with a dark chrome 
green for blinds, or a deep brownish-gray. It is al- 
most a safe rule that any shade of color will do for 
the trim on a white bodied house, say, such colors as 
pea green, gray, light yellow, or a very light brown. 
A house painted with these colors will always present 
a neat perspective, and its architectural beauty is en- 
hanced thereby. But if the white has been used until 
a change is desired, as will of course occur, for people 
will tire of the best in time, the body of the house may 
be painted a warm drab, or graystone, or medium drab, 
light bronze, or ivory white, with white or colored 
trim. 

Color fads or fashions are seldom worthy of no- 
tice; good taste and simplicity, based on the laws of 
color harmony, being safe and surer to satisfy. A 



250 THE EXPERT HOUSE PAINTER 

color scheme should be simple and fit the style of 
architecture and natural and artificial surroundings. 
The painted house should appear as a part of the land- 
scape. We must take as factors trees and shrubbery 
or their absence, the distances from other houses, and 
the color schemes of other near-by houses. Also, as 
previously pointed out, the style of the house must be 
considered. Some houses must be painted white, trim 
and body, but this only in exceptional cases ; as a gen- 
eral thing the house done entirely in white does not 
show up well, no matter how excellent its architecture. 
As a rule the white house will look better with some 
color to the trim, such as bottle green, light slate, me- 
dium drab, the drab produced with yellow ocher and 
black; a nice gray also will do. This will cause the 
white house to appear much whiter than when all 
white. And let it be remembered that when a house 
is painted white that the white should be really white, 
and not a white a little off-color. Some white lead 
will not give a true white, while some brands will; 
the addition of some zinc white to the last coat will 
make a fine white, and all zinc will give a still better 
white. But while the addition of a proportion of zinc 
white will do good rather than harm, all zinc white 
is apt to cause scaling or cracking, as it is a very hard, 
brittle metal paint. This is a pity, as zinc white has 
many merits as a paint, being non-poisonous and not 
affected by sulphur or other gases, which do affect 
white lead very much. Still, where the atmosphere 
is clear of such gases, as in the country and most sub- 
urban districts, white lead answers well. The sun and 
weather bleach out the oil and make a white job 
of it in time. And here it should be said that it is 
folly to paint a building white in the locality of fac- 
tories or railroad engines, or to paint it even a light 
gray or other delicate tint or color. For such places 



SELECTING COLOR COMBINATIONS 251 

we might suggest such combinations as light slate for 
the body, with light gray trim and black sash, roof 
olive. Or body medium drab, trim ivory white, and 
sash maroon. Such color schemes will do particularly 
well on city and suburban houses. 

In this connection is given a list of useful color 
schemes. The colors given are arranged in the or- 
der — body, trim and sash. 

No. i — Pearl gray, pure white, maroon. 

No. 2 — Cream, light brown, dark bottle green. 

No. 3 — Ivory white, pure white, maroon. 

No. 4 — Pure white, dark bottle green, black. 

No. 5 — Medium drab, ivory white, maroon. 

No. 6 — Chocolate brown, pure white, white. 

No. 7 — French gray, pure white, maroon. 

No. 8 — Colonial yellow, pure white, white. 

No. 9 — Bronze gray, pure white, maroon. 

No. io — Fawn, pure white, maroon. 

No. 1 1 — Bedford stone, ivory white, chocolate brown. 

No. 12 — Slate, pure white, maroon. 

Here is another table of harmonizing colors for 
house exteriors: 

Colonial or Formal — Body white, yellow or gray; 

trim, white; roof, natural wood shingles or slates; 

blinds, moss green, bronze green or green. 
Picturesque or Irregular — Body, red; trim, red with 

white sash ; roof, natural shingles ; blinds, very dark 

green. Or, body brown ; trim, creamy white ; roof, 

moss green, and blinds medium green. 
Mansard Roof — Body, yellowish gray; trim the same; 

roof, usually slate; blinds, green. 
Small Cottages — Body, red; trim, if not much of it, 

white; shingles, natural. Never use red if slate 

roof is blue. Blinds, dark green. 



252 THE EXPERT HOUSE PAINTER 

Upper and Lower Story is Different — Body, red be- 
low, gray above; trim in either case to be self- 
colored and sash white; roof natural shingles, and 
blinds dark green. 
Cement and Stucco — Body, white, yellow or gray; 
trim, brown stain, for white and yellow, and white 
for gray; roof, in all three cases, red; blinds, for 
first two cases dark or bronze green, for gray body 
use a pale blue-green. 

In suburban places it is well to select colors that will 
not duplicate others near by, no matter how beautiful 
and correct those may be, but select colors that will 
harmonize with surrounding color schemes, seeing that 
contrast of colors make a more interesting display 
under the circumstances. 

Summer cottages are usually built for pleasure or 
pastime, or at best are temporary houses, hence should 
be given a light and bright Coloring. The more solid 
and sober city house demands an opposite treatment, 
and if decked out in the coloring that would become 
the summer or suburban cottage would look quite 
ridiculous. 

If more than one color is to go on the side of a 
house, see that the heavier or darker color is not placed 
above the lighter one. Dark coloring conveys the 
idea of weight and solidity or strength, and should not 
be held up by light colors, which have the aspect of 
being weak. This color rule holds good also in 
interior work, as will be mentioned in its proper 
place. 

In brick and stone buildings the window frames 
should be painted the color of the capstones and win- 
dow sills. For instance, a brick house, ornamented 
with limestone copings, should have the frames 
painted a light graystone color, with the sash black or 
dark green. 



SELECTING COLOR COMBINATIONS 253 

A city house on a small lot, near the street, should 
be painted a quiet color, with dark trim. 

Quiet colors, pure white in particular, are growing 
more and more in the popular esteem. 

In painting business or factory buildings, where 
there are heavy members carrying heavy loads, these 
should be done in the darkest colors used in the scheme, 
while those with the lightest loads to carry should be 
done in the lightest colors used, so as to appear more 
slender. 

A light, airy structure will look stronger if a dark 
paint be used, unless the background is dark, when a 
light colored paint affords relief. With a small 
structure, in a large or deep landscape, more atten- 
tion should be paid to the matter of contrast. 

A good color scheme for the exterior of a handsome 
private stable is as follows : Paint the weather- 
boarding a dark drab, the stall blinds a dark drab, 
rain conductors a dark green, doors green with drab 
panels, sashes Indian or Tuscan red. If there are 
shingles on the sides, oil them, and the same if the 
sides are brick. Roof shingles dip and brush-coat 
red. Interior woodwork finish natural. 

Here are a few practical color suggestions from a 
prominent architect: 

A good combination shows a rich olive body with 
white trim. Roof moss-green. Side gable deep buff. 
Sash a greenish-black, and door deep green. Make 
the porch floor a green between the door and body 
color, the foundation a sandstone tint, and the chim- 
neys a cream. 

A low-posted cottage would be very attractive with 
the body white and the trim the same, the porch floor 
a mossy-green, or a burnt sienna, the roof stained 
olive green, with chimneys and foundation red. A 
good alternative scheme would be a copper-red roof 



254 THE EXPERT HOUSE PAINTER 

and white body, giving a crisp and attractive effect. 

A very attractive little house may be made by laying 
the lower story in chocolate color, and by painting the 
upper a lighter chocolate to harmonize with the brick; 
the trim should be white, the sash deep maroon, and 
porch floors and steps painted very deep and dull yel- 
low. With the roof stained brown, and the brick 
chimneys to match the lower story, the result would be 
most pleasing. 

A rather deep lemon yellow is suggested for the 
body of a simple house, white for the trim, a soft, 
harmonizing green for the gables, the sash in black, 
the roof moss-green, and the foundations and chim- 
neys of red. This color scheme makes a good back- 
ground for shade trees and shrubbery. 

A house made for two families and the lot small 
requires a color scheme that will tend to make the 
building recede rather than stand out. A square form 
would suggest a modest color effect. A deep seal 
brown throughout, black sash, warm green roof, and 
red chimneys, porch floors and steps a very dull buff, 
ceiling of porch cream, will complete a very good color 
effect for this case. 

An attractive color scheme shows a green shingled 
effect with white trim throughout, but in case siding 
must be used, lay the chimneys in cream brick. Stain 
the roof golden brown, paint gables and body tan, 
bordering on the chocolate, make the sash a deep 
brown, trim with a good white, paint the porch floors 
with Vandyke brown, medium shade, while the brick 
foundation should be painted to match the body. 

The location of a square house should almost of 
necessity be known, in order to wisely plan its color 
scheme, for its form is so easily accentuated to the 
detriment of the design, whereas, it might be as easily, 
with a little thought, subdued and improved upon. 



SELECTING COLOR COMBINATIONS 255 

Assuming that the house occupies an ordinary level 
city lot, we will paint the lower story and trim a very 
deep, dark green ; the upper story a deep, dull pumpkin 
shade, and the roof a moss-green. The chimneys and 
all the brick work should be red, and the sash painted 
greenish-black, while the porch floor should be olive 
green, and the ceiling cream color. 

Painting Store Fronts 

This matter was thought of sufficient importance by 
the Canadian Hardware Association as to justify its 
discussion at one of their annual conventions, and the 
conclusion they came to was, the black, or aluminum 
and natural finish or cherry, with the interior of the 
place cherry, or outside white and inside a dull red, 
was best, thus agreeing that the inside must be taken 
into consideration when determining the outside color- 
ing. Some thought with cherry or bottle green out- 
side, a natural finish would look best inside. White 
enamel for outside was also considered good. Indeed, 
a white outside with a dull red inside was very well 
thought of. 

There are many suitable colors for shop fronts. As 
a rule they should be strong, decided tones, either very 
light, such as white, ivory white, cream, or biscuit 
colors, or very dark, such as bronze green, or other 
dark green tones. Deep Brunswick green supplies a 
good color, or shades of green made with Brunswick 
green and Prussian blue used alone or lightened with 
white. Dark peacock blue is a pleasing color. Weak 
tints or common shades should be avoided. Dark reds 
and leather colors supply a useful range. Common 
shades of green and red, all right in themselves, have 
become to much hackneyed for pleasing results. The 
painter should evolve shades which are out of the 
beaten track. Pure red makes a striking color, but it 



256 THE EXPERT HOUSE PAINTER 

is not one which harmonizes well with display windows 
unless carefully managed. A little pure red, such as 
vermilion, introduced, say, round the window sash, is 
effective, with darker reds or warm toned colors. 
Aluminum powder may also be applied with good 
effect. Sometimes a shop front is the better for being 
treated simply and broadly, but if elaborate color 
treatment is desired, we know of nothing better than a 
scheme of contrasting shades, such as shades of choco- 
late, Quaker green and cinnamon, with lettering in 
gold, or cream, outlined. As to whether light or dark 
shades are most permanent: Light colors, as a rule, 
are. White and cream last well. All dark colors 
should be used flat and varnished. The aim at all 
times is to produce not only a striking front, but one 
which will harmonize with the goods displayed. 



USEFUL INFORMATION 

Definition of Color Terms. — Color is any one of 
the Primary, Secondary and Tertiary colors. Hue 
relates to a particular tone of color, as purple-blue, 
orange-yellow, etc. A tint is produced by adding a 
little color to white. A shade is obtained when you 
add black to a color. Grey and gray are the same, 
being different ways of spelling. But there are two 
kinds of gray, that produced by tinting white with 
a little blue, black and red, some add also a little yellow 
to warm it; the other gray is made by tinting white 
with a little black. A hot color is one that suggests 
warmth or fire, such as red ; a cold color is the opposite 
and represents ice, blue standing for cold; a warm 
color is one suggesting sunshine, such as yellow. 

Covering Capacity of White Lead Paint. — 
Properly thinned, an oil paint composed of white lead 
and oil will cover 1200 square feet of fairly smooth 
surface, per gallon. But there is no standard for this, 
as surface conditions vary so much. 

To Assist Slow Drying Colors. — White lead is a 
good drier, and when added to a slow pigment assists 
it to dry. Burnt umber is a good drier, and, added 
to Vandyke brown, a slow drier, helps it, without alter- 
ing the color. Raw sienna is a slow drier, and a little 
raw umber will help it. To assist blacks, all being poor 
driers, mix a little Prussian blue and red lead to pro- 
duce a dark gray and add to the black. Or Prussian 
blue alone will do, and it helps, rather than alters, the 
dark black color. 

257 



258 THE EXPERT HOUSE PAINTER 

Tests for Turpentine. — The mineral oils, such as 
benzine, gasoline, benzol, etc., are soluble in turpentine, 
but are not soluble in aniline oil. Mix 80 parts of 
turpentine with 20 parts of benzine and you will get 
a clear, uniform solution; place this in a small vial, 
add 100 parts of aniline oil and shake for a half- 
minute or so. Let it stand a minute, when there will 
appear two layers, distinct and separate. Explana- 
tion : Aniline oil mixes with the turpentine, but cannot 
mix with the mineral oil. The result is that the ben- 
zine is forced out of the turpentine mixture by the 
aniline oil, and must float by itself on the new mixture 
of aniline oil and turpentine. 

Take, say, a vial 3 inches high, pour into it about 
one inch of aniline oil, and on top of this pour an 
equal amount of turpentine. Close the vial with your 
thumb, shake, and set aside. If after five minutes the 
mixture remains uniform then it contains no mineral 
oils. But if it is left standing a day or two, separa- 
tion will sometimes occur, this being due to a change 
in the aniline oil. 

Pigments Permanent and Fugitive. — Chrome 
yellow becomes dark in air containing sulphur. Prus- 
sian blue, cobalt blue, Antwerp blue and indigo 
blue will fade, singly or in combination. Chrome 
red, carmine lake and vermilion all fade under ex- 
terior exposure. Green made from Prussian blue 
and chrome yellow will fade under exposure to sun- 
light. 

The stable colors are the umbers and siennas, burnt 
ocher and Vandyke brown. So also ultramarine blue. 
Of the reds the stable ones are Venetian red, Indian 
red, light red, and madder lake. 

A Unique Mixing Rule. — For each gallon of oil 
used take as much pigment as four times the specific 
gravity of the pigment. Examples : 



USEFUL INFORMATION 259 

One gallon of raw linseed oil will require 

26.40 lbs. dry white lead. 
12 lbs. dry yellow ocher. 
21.20 lbs. dry zinc white. 
20 lbs. dry Indian red. 
11.84 lbs. dry umber. 
10.40 lbs. dry drop black. 

Various Names for the White Pigments. — 

Whiting. Bolted gilders', Spanish white, Paris 
white, English cliffstone, chalk, commercial whiting, 
calcium carbonate, carbonate of lime. 

Gypsum. Terra alba, alabaster, alabastine, plaster 
of Paris, a natural sulphate of lime, hydrated calcium 
sulphate. 

China Clay. Kaolin, white bole, hydrated alumi- 
num silicate. 

Zinc White. Zinc oxide, oxide of zinc. 

Barytes. Heavy spar, barium sulphate. 

Blanc Fixe. Permanent white, precipitated barium. 

Silica. Silex, quartz, silicon dioxide. 

Pigments That Contain Sulphur. — Vermilion 
(sulphide of mercury), cadmium yellow (sulphide of 
cadmium), ultramarine blue and sulphide zinc white. 

How to Darken Colors. — To darken a green add 
blue or black; to lighten, add yellow or white. To 
darken blues, add Prussian blue or black; to lighten, 
add white. To darken vermilion, add Indian red or 
Venetian red, umber, or Vandyke brown, according to 
shade desired. To darken Indian red or Venetian red, 
add umber or Vandyke brown ; to lighten, add vermil- 
ion. To darken umber or Vandyke brown, add 
black ; to lighten, add Indian or Venetian red. 

Oil Required for Grinding Colors. — To grind 
the following pigments to a paste in raw linseed oil in 
ioo lb. lots: 



260 THE EXPERT HOUSE PAINTER 

Burnt umber 93 lbs. oil 

Raw umber 74^ lbs. oil 

Burnt sienna 104 lbs. oil 

Raw sienna \2& l / 2 lbs. oil 

Pigments Not Affected by Sulphur. — Zinc 
white, barytes, silica, China clay, lithopone, terra alba, 
whiting, yellow ocher, Venetian red, Indian red, Tus- 
can red, ultramarine green, all the brown earth pig- 
ments, such as umber, Vandyke brown, iron oxide, 
etc., lampblack and drop black, ultramarine blue and 
Prussian blue. 

Pigments Not Affected by Alkali. — Barytes and 
whiting, yellow ocher, Venetian and Indian red, cobalt 
blue, ultramarine green, siennas, Vandyke brown, iron 
oxides, ultramarine blue, and lampblack and drop 
black. 

Pigments Lime-Proof. — Barytes, lithopone, zinc 
white, whiting, China clay, yellow ocher, Indian yel- 
low, iron oxide reds, madder reds; and in less degree 
red lead and English vermilion, cobalt green and terra 
verte, umbers and Vandyke brown, lampblack and 
drop black, cobalt blue and ultramarine blue. 

Are Any Pigments Permanent? — Strictly speak- 
ing, there are none, but the natural pigments come near 
the mark. Generally speaking, dark colors are more 
permanent and endowed with a larger capacity for 
service than the lighter ones, which in large part are 
made artificially or with a dye base. This does not 
imply that all chemically prepared colors worked out 
upon a dye base, or otherwise, are fugitive colors. It 
is well known that not a few of the most durable and 
finest pigments are in the chemically prepared class. 
Still, most of such colors are very brilliant in tone and 
beautiful in their surface effects. 

Baking White Enamel on Iron. — White enamel 
is baked on galvanized iron at a heat of not over 180 



USEFUL INFORMATION 261 

deg. F. Use zinc white enamel and bake on several 
coats, mixing zinc white with baking varnish; bake 
each coat several hours. 

Bath Tub Enamel Paint. — Break up 8 lbs. best 
French zinc white that has been ground in damar 
varnish, or other light colored varnish, and mix in 
slowly one-half pint of turpentine, after which add 
gradually while stirring 2 quarts of the best white 
enamel varnish — not damar. This will make 1 gal. 
of enamel varnish. Flake white ground in pale japan 
and thinned with turpentine will dry hard within an 
hour in light coats. 

After Burning Off. — If, after burning off, you 
find the surface in poor condition, some parts spongy, 
others hard, glaze over with rough-stuff made from 
white lead, whiting, and japan; spread this on, as 
smoothly as you can, and after it is dry, say, in 24 
hours, sandpaper it smooth. 

Shellacking White Pine. — White pine, or any 
white wood that is to be painted white and requires 
a primer of white shellac, should have it on the bare 
wood, and not on the priming coat of paint. 

To Keep Paint Good after Mixing. — After 
paint has been mixed and left to stand for some little 
time a skin will form over it; to avoid this cover it 
with water and on the water pour a little raw oil, which 
will prevent evaporation of the water, and both will 
prevent drying of the paint on top. 

To Thin Coal Tar. — Thin with coal tar naphtha 
or, as otherwise known, light oil. Solvent coal tar 
or 90 per cent, benzol is also a good thinner, but it 
costs more. Heat the tar before thinning it. 

To Clean Coal Tar Brush. — Clean it with the 
light oil mentioned in the foregoing item or benzol. 

How to Thicken Paint with Soap. — Use a soap 
made from rosin and oil, finely shaved and melted in 



262 THE EXPERT HOUSE PAINTER 

hot water. Don't use a tallow soap, as it would retard 
the drying of the paint. 

To Paint on Leather. — Use colors ground in ja- 
pan and thin with turpentine, with a little carriage fin- 
ishing varnish as binder; don't use oil colors or oil 
paint. 

Tinting Lead. — It sometimes happens that you 
have occasion to deepen the tone of a color a little and 
have none of the proper color with you; it is a good 
plan to always take along with you to a job some of 
each color that has been used in tinting the paints you 
are to use, thinned with a little turpentine and placed 
in a closed vessel, and then if needed it is on hand. 

To Prevent Pine Knots from Showing. — Thin 
white shellac varnish is the standard knotting, but 
sometimes it does not hide the knot well. This may 
be due to the knotting being weak through age, the 
alcohol having weakened. There are many ways be- 
sides the shellac. Dry red lead, mixed with glue size, 
was once the favorite. Gold, silver, and aluminum 
leaf will effectually hide a knot. But a gold size must 
first be used, and when the leaf is put on this there is 
quite a raise in the surface at that place. To avoid 
this, sandpaper the place down well before size and 
leaf go on. Another formula: Mix % P mt of gold 
size, i teaspoonful of dry red lead, I pint of benzine, 
and 7 oz. orange shellac varnish. Shake once in a 
while. White or red lead mixed with gold size and 
applied warm is another stopping. 

Why We Shellac Knots. — The reason is not well 
understood. It is necessary because knots are end- 
grain, lying at an angle to the main surface of the 
boards. A knot may cause trouble in several ways; 
the most important are, first, the great amount of suc- 
tion; secondly, exudation of sap; thirdly, discoloration 
of the paint on account of sap of a pitchy nature pres- 



USEFUL INFORMATION 263 

ent in all soft woods. Knotting stops suction and pre- 
vents discoloration. It cannot, however, always pre- 
vent exudation of gum. Nothing will do this com- 
pletely, but it may modify the trouble after heat has 
been applied to the affected part in order to draw out 
the gum. 

How to Paint Picket Fence. — We can lose a lot 
of time in doing this sort of work by not knowing how 
to do the work systematically. Take one panel at a 
time, clean it off, particularly the bottoms of pickets. 
Then paint the right side edges of the whole panel 
first, then return, and paint the left sides, finishing the 
rail between pickets, and lay off the fronts of rails last. 
After finishing a few panels this way go to the back 
of the pickets and do them and the rest in order. 
Better have a boy, or a man, on the back of the fence, 
while you carry along the front. That saves time, too. 
There is about twice as much work to do on the front 
as on the back of the fence. 

Mixing Dry Red Lead and Dry Lampblack. — 
If you don't know how, it is difficult to mix these two 
pigments together. One way is to put the two together 
in a vessel that can be closed tight, and then shake it 
well for a few minutes ; in this way the light and heavy 
pigments will become well mixed. The trouble arises 
from the fact that one is a very light and the other 
a very heavy pigment. After this mixing add the oil 
and work into a paste. Another way is to place the 
lampblack in a mixing vessel, add the oil to it, and 
mix it; then add the red lead and mix that in. Add 
the lead gradually and stir all the time. 

To Clear Dirty Shellac Varnish. — Stir in a 
few crystals of oxalic acid and then allow the shellac 
to settle for a few hours. The liquid will become 
clear and the foreign matter will deposit on the bot- 
tom of the vessel ; the clear liquid may then be poured 



264 THE EXPERT HOUSE PAINTER 

off into a clean vessel, avoiding any metal vessel, which 
would stain the shellac. Add only a few crystals of 
the acid at a time until you notice the effect. 

Paint Emulsifier. — Some emulsion liquids act 
badly on certain chemical pigments, but the follow- 
ing formula, devised by a German paint maker, is 
said to not affect the ordinary chemical colors in use. 
Dissolve three parts of silicate of potash in six parts 
of water; add 12 parts of raw linseed oil. The greater 
the proportion of silicate the stronger the solution. 
Then dissolve three parts of sugar of lead in nine 
parts of water and incorporate thoroughly with the 
oil solution. The proportion of lead solution must not 
be exceeded. 

Why the Paint Did Not Gloss. — When you 
have an oil finish in hand remember that to get a full 
gloss the under coat must be more or less flat. It is 
the rule that a gloss upon a gloss makes a semi-flat 
finish. 

To Paint over Calcimine. — Most of the water 
paints or calcimines on the market need no size before 
painting, but if a size should be thought best, then 
make the size from best white glue or gelatin. This 
will give a firm surface for the paint. Where a cal- 
cimine has had too little glue binder, it is necessary 
to size before coating over it with either water color 
or oil paint. 

To Paint Window Shades. — Take some rather 
dry white lead, some that has become rather stiff with 
age, but yet not hard, and make it to a stiff paste with 
turpentine, mix in color you desire, then make quite 
thin with turpentine. If you have no old lead, better 
draw the oil from what you do have. Just enough oil 
to serve as binder, and driers sufficient. Stretch the 
shade on a frame, or against shop wall if this can be 
done, make the cloth clean, then apply the paint with 



USEFUL INFORMATION 265 

a broad flat brush, getting on a thin coat; if it does 
not cover enough, you may add a second coat, though 
one coat usually does. The less paint the better. The 
paint is applied criss-cross, every way, which gives a 
more solid effect than laying it off. Machine-painted 
shades are recognized by the straight streaks of paint. 

Relettering Old Store Shade. — Paint the old 
shade as directed above, then follow the old lettering, 
which will show plain (unless new matter is to be 
lettered on), with oil size, if to be gilded, or paint-in. 

Vernis Martin Finish. — This finish is used on 
both metal and wood. The surface must be made 
perfectly level and smooth. On this foundation, which 
may be made with paste filler or with iron filler or 
rough-stuff, according to whether the finish is to be 
on wood or metal, apply four coats of best gold bronze, 
mixed with banana liquid; use a soft hair brush, iy 2 
or 2,y 2 inches wide and double-thick. The four coats 
are to be applied by brushing one way only. The first 
and second coats should dry in a warm room. Rub 
down each coat carefully with curled hair, being care- 
ful not to rub through the bronze. Apply quickly, and 
make long strokes, or you may rub up the under coat- 
ing. To finish, apply one or two coats of good inte- 
rior varnish, which should be rubbed or polished. 
Before varnishing the job apply a coat of thin shellac 
varnish. If picture or similar ornament is to be used, 
use decalcomania or paint by hand before varnishing. 
The method here given is that used by furniture 
makers. The method seems to be merely a glazing 
and varnish. To get the golden effect the furniture 
people give three coats, the priming coat being baked 
and hardened, with the second coat an extra good 
grade of varnish. The color is transparent, a rich 
golden tint, resembling the high-grade brass beds. All 
this may be done with paint, glaze, bronze and varnish. 



266 THE EXPERT HOUSE PAINTER 

Glue Varnish. — Take best white glue and dissolve 
in a quart of water. Use best brown glue to make 
dark varnish. When ready to use the glue varnish 
add 1^2 oz. bichromate of potash, which will harden 
the glue and make it more or less water-proof. 
This glue will become insoluble if left standing long. 
Use it at once. 

Why Oil Paint Dries Semi-Flat. — Paint drying 
flat is frequently, but not necessarily, an indication of 
adulterated oil. The best linseed oil paint will dry 
more or less flat where the surface is dry and porous, 
taking in the oil and leaving the dead lead. On such 
a surface the paint should contain much oil, to allow 
for sinking in. But if the paint has dried in, showing 
spotty, go over the priming coat with oil and touch 
up the lusterless or dead spots. Linseed oil that has 
been adulterated with mineral oil will give a paint that 
is sure to dry flat. 

How to Make Flat Varnish. — Heat one gallon 
of the best hard oil finish, and in another vessel heat 
6 oz. of the best beeswax; add these two together. 
Do this carefully. Stir in the wax slowly. Then add 
by careful stirring 2 oz. of raw linseed oil as binder 
and a help to the easy spreading of the varnish, that 
no laps or brush marks may appear. Mix the oil and 
3 pints of turpentine together while the mass is hot. 
Strain through a fine strainer. Use only clean cans. 
Also clean brush. 

Do a panel or other part at a time, for laps show 
and must be avoided. On exterior work use a good 
spar varnish. Careful work only will give you a good 
job. This is true of course regarding all work, but it 
is imperative in flatted varnish work. 

A Water-Oil White Paint. — Mix together 40 
lbs. of bolted gilders' whiting, 10 lbs. dry zinc white, 
10 lbs. white lead in oil, 8 lbs. raw linseed oil, 6 lbs. 



USEFUL INFORMATION 267 

potash soap, and 26 lbs. soft water. It may be de- 
sirable to add also a quart of copal varnish. This 
formula will make about 100 lbs. of white paint, ready 
for the brush. 

A Disinfectant Paint. — The addition of carbolic 
acid will give to paint disinfectant properties, but it 
will also discolor any but very dark paint. Boric acid 
and salicylic acid are useful for this purpose. Here is 
a formula for a white paint to which a disinfectant 
may be added : Dry white lead 20 lbs., best zinc white 
300 lbs., raw linseed oil 4^ gals., white japan 3 gals. 
And any color desired may be incorporated. 

Paint for Rough Work. — Take two parts iron 
oxide, dry, and one part whiting, mix to a paste with 
raw oil ; add some cheap drier, and thin out with ben- 
zine and rosin oil. To make a better grade omit the 
benzine and rosin oil and use only the raw oil. But it 
will cost more. Dry ocher, the American grade, and 
Venetian red make good pigments for this purpose. 
Or cheap grade white lead and Paris white, colored 
with carbon black. Or ocher, whiting, lampblack, and 
blue, for a sort of olive green. A cheap black paint 
may be made upon this formula: Mix 18 lbs. boiled 
oil, 25 lbs. naphtha or gas black, 18 lbs. raw linseed 
oil, 112 lbs. barytes, and 56 lbs. of white lead. 

Paint for Golf Balls. — One part of dry pulver- 
ized white shellac, 2 parts of denatured alcohol, and 
1 part of lithopone, all by weight. Mix the shellac 
and lithopone together and put it in a bottle, then add 
the alcohol. Shake occasionally, until the shellac is 
dissolved. 

Tiffany Finish. — This finish originated with the 
Tiffany firm of art dealers, etc., in New York, and 
was suggested by the light coming through stained 
windows and falling on the decorated walls. Nat- 
urally the effect would be a mingled display of the 



268 THE EXPERT HOUSE PAINTER 

colors of the glass. To produce such a finish with 
paint there are several different ways, and the follow- 
ing is that used by a master painter of experience. 
He says that no matter what color the finish is to be, 
make the ground buff color, using white lead tinted 
with yellow ocher. On this ground apply a coat of 
white shellac, though this he says is not really neces- 
sary. The idea is to have a solid ground to glaze on. 
Use only the transparent colors, such as Prussian blue, 
the siennas and umbers. Glaze with one of the colors, 
and have ready small pots containing the several glaze 
colors, with a brush for each color. These colors are 
to be dappled on, making a mottled effect. After this 
mottling stipple it, to give a uniform surface. When 
this is dry apply a coat of pale copal varnish, for the 
mottling will not be uniformly flat or lustrous, but 
mottled, so that the shellac is necessary to produce a 
soft and semi-flat effect. 

Flatting White Lead Paint with Water. — It 
is said that the addition of a little water to white lead 
will cause paint made from it to dry flat on walls and 
ceiling. First beat up the white lead in the keg, then 
gradually add the water and stir the lead constantly, 
and finally the water will mix mechanically with the 
lead. Then add drier and any desired color and re- 
duce the mass to brushing consistency with turpentine. 

Streaks in Dark Blue Paint. — Some blues of the 
rich dark shade are made up with a proportion of 
black in their composition, and the black, being very 
light, has a tendency to float to the surface when the 
blue is applied, and to cause streaks, which mar the 
appearance of the finished surface. To obviate this 
add a very little bluish-gray to the blue when it is to 
be used as a body color; the gray may be made with 
a little lead and black, with some of the blue to give it 
the requisite tone. It must however be sparingly used, 



USEFUL INFORMATION 269 

or naturally it will change the hue of the whole color. 

Imitating Red Slate. — The ground may be made 
with 3 parts of white lead and 2 parts of Indian red; 
mix with equal parts of raw oil and turpentine. And 
driers, as required. The graining or marbling is done 
over the foundation with Indian red and white lead. 
Underglaze with Indian red, make a pebbled effect, and 
vein in with a mixture of Indian red and white ; when 
dry, coat with varnish. 

Water Content of Paints. — Ordinary raw lin- 
seed oil carries usually from 0.50% to 1.50% or more 
of water. White pigments also carry more or less 
water; hence it is customary to allow a maximum of 
2% of water as a natural content. Any amount over 
3% of water may be regarded as pure adulteration. 
To test the presence of free water in paint, white paste 
or mixed, add a very little eosine (aniline pink) to the 
mixture, and rub it on a piece of porcelain or glass, 
then add a drop of water; as eosine red is unaffected 
by oil, turpentine or benzine, while easily dissolved in 
water, if any moisture be present it will at once show 
itself by the white paste turning pink. 

Coloring Paint in the Pot. — When you wish to 
tint or color paint in the paint pot don't add the color 
direct but first break it up in some of the paint, in a 
cup, thinning it with a little turpentine or benzine, then 
adding it to the paint by degrees in the pot. Another 
good way is to beat up the lead to a stiff paste and 
then beat up the color with it. 

Old Ivory Effect. — Make the proper foundation, 
then apply two coats of white shellac varnish, and 
when dry scumble with raw umber, rubbing it off in 
spots to produce the desired mottling. 

Water-Proof Paint. — Shave fine 1 lb. of brown 
soap and dissolve in hot water 2 quarts. Then add 
and stir in 6 quarts of boiled oil and one ounce of 



270 THE EXPERT HO[USE PAINTER 

Milestone. After removing the mass from the fire add 
2 quarts of turpentine and color as desired. Strain 
well before using, and thin with turpentine to suitable 
consistency. 

Non-Poisonous Paint for Toys. — Pulverized 
chalk 6 parts and calcined magnesia 3 parts ; add a little 
ultramarine or soluble laundry blue to whiten the paint, 
and mix to paint consistency with white glue size. 

Permanent Green Paint. — Articles exposed to 
the weather, such as lawn furniture, etc., and which 
are to be painted green, need a green that is as 
permanent as possible. Medium chrome green does 
fairly well, and emerald green is still better. It is 
more permanent than any other of the green class, and 
less affected by sulphur and impure air. 

Fireproofing Shingles. — Any good oil paint will 
make a good fire resistant on a shingle roof. The 
danger from a fire brand or spark on a dry shingle 
roof consists in the fact that the shingle is like tinder 
when dry, but when it is coated with paint the spark 
cannot get at the wood, but expires on the painted sur- 
face. Use any good mineral paint, such as iron oxide, 
for instance. 

Repainting Yellowed White Work. — Where a 
room was painted white years ago and is now quite 
dark of color, it will be useless to paint over it with 
the expectation of getting a white job. The way to 
do is to shellac over it, with white shellac, and paint 
white on this surface. This will sometimes fail, but 
it is the best way we know of. As a general thing 
such work cannot be made white again without re- 
moving the old paint. 

Turpentine in Exterior Paint. — Some painters 
use a little turpentine in all outside paint, and its use 
is debatable. If the oil is somewhat old and fatty a 
little turpentine will help, in the proportion of one part 



USEFUL INFORMATION 271 

turpentine to eight parts of oil. Turpentine tends to 
harden paint, makes it work easier, but is thought to 
impair the durability of the last coat. 

Another Dope Paint Formula. — Take 150 lbs. 
of gilders' whiting and mix to a paste with water ; then 
add 6 gals, of hot soft soap ; then break up 60 lbs. of 
white lead in 3 gals, of boiled oil, and when mixed to 
a paste add 3 gals, more of oil, then stir the lead and 
whiting mixtures together. Then the mass should be 
run through a hand mill, something that should be in 
every paint shop. 

Imitation Gold Color. — Take flake white ground 
in varnish, tint it with lemon chrome yellow and a 
touch of vermilion. Gold paint color may also be 
bought ready prepared, in tubes. 

Painting over Creosote Stain. — If there is any- 
thing that will prevent the stain from coming through 
it is shellac, and this may fail in some cases. Let the 
shellac dry perfectly hard before you apply the paint 
over it. 

Evaporation Points of Spirits. — The rate of 
evaporation of wood alcohol is twice that of grain 
alcohol. The rate of evaporation of acetone is twice 
that of wood alcohol. Grain alcohol at a temperature 
of 104 degrees Fahr. is just equal in point of rapidity 
of evaporation to that of turpentine at the boiling 
point of water. 

To Prevent Red from Striking Through. — A 
master painter says that a coat of shellac will prevent 
bleeding red from showing through paint. In apply- 
ing red, either bleeding or non-bleeding, it is safest to 
give the work a coat of ground color, composed of 3 
parts Venetian red and 2 parts zinc white. In the 
case of a varnish finish of course the ground color 
must be made flat, and the finishing color should be 
ground in japan. 



272 THE EXPERT HOUSE PAINTER 

Green Slating Paint. — For black-board. The 
surface must first be made smooth and even. Then 
apply two coats of this paint: Mix together I lb. 
each of Prussian blue and medium orange chrome yel- 
low. Thin with equal parts of oil size and alcohol to 
the consistency of thin cream. Apply with a wide 
stiff bristle brush. After 24 hours smooth off with 
felt, then give it a second coat of the slating paint. 
The shade may be altered by varying the proportions 
of the two colors. 

A Cheap Slating Paint. — Take lampblack in oil 
4 lbs., ultramarine blue in oil 1 lb., and pulverized 
pumicestone 1 lb. Mix, thin with turpentine and add 
a little driers. Another formula: Mix up some 
japan drop black in varnish and add enough powdered 
rottenstone to make the paint flat, then thin up with 
turpentine. 

Another formula: Slow drying. Take 1 lb. of 
drop black in oil, % lb. ultramarine blue in oil, and 
1 lb. fine emery flour, mix to a paste. Then add y 2 
gal. coach japan and stir to a paste, then add 1 pint 
of turpentine, mix all together, strain, and it is ready 
for use. In place of the emery flour use fine pumice- 
stone flour. 

Touch-Up Jobs. — When touching up an old straw- 
color job make the color as near the original as pos- 
sible, then mix in a few drops of asphaltum, which 
will impart the dirty or stained appearance of the old 
paint. An old vermilion job may be touched up with 
vermilion stained with a little Venetian red. As- 
phaltum will give a dirty look to white, cream, pearl 
or silver gray, buff, and any color containing white. 

Pigments Permanent to Light. — All the whites, 
all of the blacks except black lake, yellow ocher, 
medium and orange chrome yellow, Venetian red, iron 
oxides, American vermilion, chromium oxide green, 



USEFUL INFORMATION 273 

terra alba, lime green, zinc green, raw sienna, raw 
umber, cobalt blue and ultramarine blue. 

Pigments Safe to Use with Lime. — Unaffected 
by lime or alkali in any pigment form. These are 
silica and similar inert whites, zinc white, yellow ocher, 
Venetian red, iron oxides, Indian red, English ver- 
milion, chromium oxide, lime green, terra verte, ultra- 
marine green, raw umber, burnt umber, raw and burnt 
sienna, cobalt and ultramarine blue, lamp and carbon 
black. The regular lime-proof mortar colors are zinc 
white, yellow ocher, Venetian red, lime green, iron 
oxide or mineral paint, and lampblack. 

Pigments Affected by Lime or Alkali. — White 
lead and all pigments made on a lead base, such as 
chrome yellows, or containing any lead in their com- 
position, such as Prussian blue, vermilion, emerald 
green, cadmium, rose pink, the lakes, and most vege- 
table colors, such as madder, etc., are affected. 

Mixing the Priming Coat. — The proportion of oil 
to the ioo lbs. of white lead for priming purposes on 
wood varies with painters, some allowing 5 gals., 
others up to 7 gals. Some add as much as }4 gal. of 
turpentine, in which case that much oil is deducted. 
Much depends upon conditions, season of year, 
weather, variety of wood, etc. In cold and damp 
weather turpentine is useful, also more driers need to 
be used. In summer weather driers should be used 
very sparingly, as they tend to prevent the oil from 
sinking into the wood as it otherwise would, by setting 
the oil too soon. Some painters use some zinc white 
with the white lead priming, though just why we do 
not know. Perhaps they think it gives a harder sur- 
face. When zinc white is added more driers are re- 
quired, as zinc is a very bad drier. It is best to use 
freshly mixed paint for priming, and bad to use boiled 
oil. 



274 THE EXPERT HOUSE PAINTER 

Formula for Mixing Pot of Paint. — To mix a 
pot of inside white paint take 8 lbs. white lead, in oil, 
best grade white zinc, in oil, 8 lbs., thin out with tur- 
pentine and add driers ; pale japan is best. Strain the 
paint. This will give, after straining, about io lbs. of 
mixed paint, or an ordinary pot of paint. The propor- 
tion of turpentine and japan driers should be 13 oz. 
and 2 oz. respectively. 

Repairing Cracked Wall. — Plaster of Paris and 
glue size make a good stopping, but is apt to crack 
some. Sandpaper it smooth and then give it a coat of 
shellac. A hard putty is better, made from white lead 
and whiting, with a little varnish and japan drier. 
Large cracks must be keyed or cut out so that the 
inner part is larger than the outer, so that when filled 
the putty will hold. As plaster filling will shrink some 
it will need to have two coats; when dry, sandpaper 
smooth, then a coat of shellac. For an old wall or ceil- 
ing, where one part is higher than the other, along the 
crack, employ the French method: Mix white lead 
and coach japan to a stiff paste and apply it with a 
broad glazing knife. Level it so that the low side will 
be raised to a level with the high side. Sandpaper 
smooth. 

How Much Driers? — No arbitrary rule can be 
laid down as to the amount of driers to use in mixing 
paint; it must be left to the man who undertakes to 
mix the paint, and he will be governed by circum- 
stances. Driers differ in strength, pigments differ in 
their drying qualities, and then the weather, time of 
year, location of work, etc., all are factors that have 
to be reckoned with. With long practice the painter 
learns to know just how much driers is needed in any 
particular case, though he is likely to use too much 
rather than too little. Driers injure, while they help, 
the paint, burning the oil by oxidation. 



USEFUL INFORMATION 275 

Is Kerosene Useful in Ordinary Paint? — Coal 
oil or kerosene is a non-drying oil, it has no adhesive 
qualities, it is not oxidized or changed, nor will it com- 
bine with other materials under ordinary circum- 
stances. It is therefore useless in paint, deleterious 
when mixed with linseed oil, as it retards and even 
prevents the drying of paint. 

How to Paint Hemlock. — This is a difficult wood 
to paint. The priming should be applied with a full 
brush, and the paint should be rubbed in well. Don't 
use too much driers, and give the coat plenty of time 
to dry. The first two coats should be thin, and while 
a third coat will make a finish, four coats would be 
better. 

A Good Glue Size. — Soak 2 lbs. of fish glue in x / 2 
gal. of cold water. Dissolve 8 oz. pulverized alum in 
Y2 gal. water. Pour the water off the glue and dilute 
the glue as desired. Then add the alum water. Melt 
1 oz. white soap in boiling water and add to the solu- 
tion, to give it elasticity. 

Paint for Exterior Work. — It may not occur to 
the average painter that a four-square building, that 
is to say, one with its four sides exposed to the 
weather, will require different paint for each side ; for 
instance, the south side being most exposed to the 
sun will require more oil in proportion to the lead 
used than will be needed on the north side. So with 
the east side, which receives hard wear from easterly 
storms, and will require a heavier and harder paint 
than the other sides, while the west side will need 
plenty of oil and a rather stout paint, because it has 
both a hot sun and south-west storms. Thus it will 
be seen that a paint that may be right for one side 
may not be right for another side. In fact, when 
painting a frame structure of this sort due regard 
should be had for the requirements of the different 



276 THE EXPERT HOUSE PAINTER 

parts of the work, both in relation to the weather and 
the material. 

Is Boiled Oil or Raw Oil Best? — Raw oil is 
more porous than boiled oil, allowing the air to pass 
through it more rapidly; it dries from the bottom up, 
or from the inside, and it takes longer to dry away 
from dust, etc. Boiled oil dries from the top down 
and through, so that in a short time it has a skin 
formed over it, which is, so-called, air-tight. It dries 
quicker than raw oil, but, owing to its exclusion of the 
air, takes longer to reach the resinous state, and on 
that account is said to be more durable than raw oil, 
or better weather-resisting. Real kettle-boiled oil is 
what we have in mind when saying this. 

Removing Yellow Cast from White Paint. — 
White lead paint mixed for interior work, and con- 
taining some linseed oil, will become yellow or brown- 
ish-yellow in time. When mixed with turpentine only 
this yellowing does not occur to any perceptible de- 
gree, though it contains the oil that the white lead was 
ground in. To give the lead paint a whiter look it 
is customary to add a little blue, just as the laundress 
puts a little soluble laundry blue in the rinse water, 
to give the white clothes a better appearance. If you 
do use blue to whiten the paint remember that ultra- 
marine blue gives a rather greenish cast. If you 
choose the ultramarine blue for the purpose then take 
one that has a violet hue, rather than the one with the 
greenish hue. True lampblack would probably be bet- 
ter than the blue, but it must be made from oil, as 
the gas carbon black will not do. Drop black tends to 
increase, rather than diminish the off-color effect of 
white paint. 

Preparing a Front Door for Graining. — The 
front door was badly blistered. The old paint was 



USEFUL INFORMATION 277 

then burned off, to begin with, the rosin in the white 
pine wood was burned or drawn out with heat, then 
shellacked. Then the door was primed with red lead 
thinned with 2 parts boiled oil and 1 part turpentine. 
When dry it was sandpapered and puttied with a mix- 
ture of dry white and red lead, equal parts, and a little 
whiting, and japan gold size. When hard-dry, the 
paint was sandpapered smooth and another coat of 
red and white lead was applied; after this two coats 
for the graining ground were applied, containing no 
red lead. The first of these two coats was mixed with 
rather more boiled oil than turpentine, but the gold 
size was used in both. The door was then grained 
and varnished with good carriage varnish. At the 
end of two years there was no evidence of blistering. 

Why Paint and Oil Become Fatty. — This con- 
dition is due to the elimination of glycerine from the 
oil used as a binder to the pigment, which renders the 
compound fatty or greasy, unless the pigments are 
such as will absorb the oxygen, such as red lead and 
red oxide of iron. — Standage. 

To Mix Water with Mixed Paint. — In white 
lead paint water may be added without the use of 
chemicals by adding a very little at a time and stirring 
it well. For other paints, in which a larger percentage 
of water is to be incorporated, use this formula: 1 
lb. sal soda, 1 lb. of borax, dissolved separately in 5 
gals, of boiling water; mix, then add, while stirring, 
2 gals, raw linseed oil. Let it stand three days, then 
stir again and add a gallon of the mixture to every 10 
gals, of mixed paint, if the paint is composed of lead. 
For paint composed of mineral or iron oxide add only 
a gallon of the mixture to 15 gals, of the mixed paint. 
More than this will give a much poorer paint. This 
formula holds up the paint and does not allow it to be- 



278 THE EXPERT HOUSE PAINTER 

come fatty. The ultimate effect is to make the paint 
porous and less weather-resisting, the water evapo- 
rating. 

To Bleach Dark Spots in Wood. — Knots and 
other dark parts in natural wood may be made paler 
by the use of chloride of lime, ItfYz oz., and soda 
crystals, 2 oz. Dissolve in 10^2 pints of water, after 
which apply a solution of sulphurous (not sulphuric) 
acid. Pine knots cannot be bleached. 

Paint Spotted and Bleached. — An oil-painted 
surface in time loses its gloss in spots, and the cause 
is the driers. Litharge and sugar of lead driers both 
tend to make the paint spotty. Oil that was not 
properly tank-settled is another cause. 

Thinning Thick Boiled Oil. — Boiled oil that has 
become too thick may be thinned by stirring in tur- 
pentine or deodorized benzine until it is sufficiently 
fluid. If this does not answer, or not make it work 
freely, add some raw oil. 

Working Up Old Paint Skins. — Boil them with 
some raw linseed oil. Then take from fire, add some 
benzol, just a little, then thin out with benzine, enough 
to let the paint pass through a strainer. When this 
paint becomes cold it will be thicker, then it will have 
to be reduced some more. Another way is to cut the 
stuff with sal soda dissolved in water, forming an 
emulsion paint, which is not quite as good as the other 
paint. To 1 gal. of water add 1 lb. of sal soda, cover 
the skins with this, and let it stand for a few days. 
Then pour off the water from the top of the stuff and 
thin up with oil or benzine, or with both. 

Quick Lead Paint. — To get a rapid drying white 
lead paint, for a particular purpose, grind white lead 
in alcohol and thin with white shellac. 

To Paint over Burlap. — When the burlap wall 
material fades it can be painted. Fasten any loose 



USEFUL INFORMATION 279 

parts with paste to the wall; apply varnish size, then 
paint it any desired color. Either gloss or flat finish 
may be made. Or the last coat of paint may be glazed 
with any transparent color; apply it thin and rub out 
to scumble it. 

Treatment for Mildewed Burlap. — Brush off 
with a stiff brush and apply this size : Dissolve 4 oz. 
alum in 1 gal. hot water; 4 oz. bluestone in 1 pint of 
water; 2 oz. best white glue in 2 quarts of hot water; 
and 2 oz. sugar of lead in 1 quart of water. Mix 
separately and while hot; add the bluestone solution 
last. Allow it to dry. 

How to Paint Window Blinds. — Don't hold it by 
the edge when painting inside of the rail, as that 
will cause the paint to run into the pin-holes of the 
slats, causing the slats to work hard when the paint 
dries. When the blind is done set it on strips on the 
ground or floor, with the top part down, so that 
should any dirt get on that part it will not show, or 
if the paint there is marred it will not show. Also, by 
thus setting the blind should any paint run it will not 
go to the bottom part, and cause hard drops of paint 
to catch on the window sill. Open out slats when they 
are done; have a little stick for opening and closing 
the slats, saving fingers from paint. Leave hand-holds 
on each side of the blind and shutter, and after setting 
it up paint those parts. Have a rag for wiping hands 
on, and try to keep hands free from paint. 

Cleaning Enamel Painted Surface. — Dust off 
clean, and then cleanse with the following: Have a 
damp cloth and some precipitated chalk and with these 
give the work a gentle rubbing. Soft flannel is best, 
and Paris whiting will do in place of chalk, though 
there is less danger from scratching with the fine chalk. 
Dip flannel rag in hot water and wring out dry as 
possible, then dip it into the whiting. Then wash 



280 THE EXPERT HOUSE PAINTER 

off with clear water, and rub dry with soft chamois 
or flannel rag. 

To Clean Dirty Paint. — Good for dirty walls in 
particular. Slice I lb. of good brown soap in 3 quarts 
of hot water; add 1 oz. borax powder; let simmer on 
stove, do not boil. Stir occasionally. Use an old 
flannel for rubbing surface with this cleanser. Wash 
off with clean water as you clean the dirty surface. 

To Clean Slate Blackboard. — To remove oil, 
grease, dirt, etc., from slate blackboard use paint re- 
mover, or benzol, or alcohol, and should these fail try 
equal parts of banana oil, carbon bisulphide and fusel 
oil, mixed and applied with a sponge. Strong am- 
monia may answer the purpose. 

A Dipping Paint for Window Sash. — For cheap 
paint for dipping sash in, as practiced at factory, mix 
together 8 gals, gloss oil, 1 gal. raw linseed oil, and 1 
gal. pale japan drier. With this mix 25 lbs. of bolted 
gilders' whiting, then strain. Thin up with 2 gals, 
benzine. 

Cleaning Painty Overalls. — When overalls are 
not changed and washed weekly, but are worn for a 
long time without cleaning, it is hard to remove paint 
and restore whiteness. My own method is to soak the 
overalls in a bucket of warm water, in which place a 
half pound or more of sal soda. Let them be in this 
for two days, in which time the hard paint will have 
become softened. Take out and lay on a board or 
table and scrub with a hand scrub, with plenty of 
clear water and brown soap. After this has been done 
thoroughly rinse out in several clear waters, and 
hang up to dry. Dark paint spots may be taken out 
with chloride of lime. 

How to Make Gloss Varnish. — Boil 1 gal. of raw 
linseed oil for an hour, then stir in 2 lbs. of pulverized 
rosin, stirring until the rOsin is melted; then x / 2 pint 



USEFUL INFORMATION 281 

of turpentine and an ounce of gum camphor; strain 
it. 

Primer for Hard Pine. — In 1900 an experiment 
was made in which a square, 100 feet, of Georgia pine 
was nailed up on a southern exposure and primed with 
a mixture of pine tar 1 part, boiled linseed oil 3 parts, 
and no pigment. When perfectly dry two coats of 
white lead paint, thinned with boiled oil, were applied. 
Examined after three summers had passed the work 
was found in good condition, no checking, cracking, or 
chalking. 

Cleaning Paint Pots. — Saw a barrel in two and 
use one of the halves for a lye barrel. Put 5 lbs. of 
fresh stone lime in it, and water enough to slake the 
lime. Then add 2 lbs. concentrated lye and water to 
make 1 5 gallons. Stir until the lye has dissolved, then 
it is ready for the dirty paint pots. Another way: 
Put some shavings, paper, or excelsior in the pot and 
pour on a little coal oil ; set fire to the stuff, and in a 
few minutes begin scraping down the insides, which 
will add to the intensity of the fire and keep it going ; 
then scrape down the outsides. In a few minutes 
dump out the fire and finish scraping inside and out. 

Glue Size for Old Exterior Work. — "I painted 
a building, two sides of which was new siding, the 
other two sides old wood and rough. The new work 
got two coats of lead and oil paint ; the old work was 
sized with glue-and-whiting, and finished with a coat of 
lead and oil. Glue size was very thin and only enough 
whiting to make a thin paint. Applied glue size with 
whitewash brush. Applied hot. After 20 years the 
old work looks better than the new work. The old 
wood must be quite dry before sizing." 

To Make a Drying Oil for Zinc Paint. — To 
make boiled oil especially adapted for zinc white paints, 
or indeed for any paints, mix one part of binoxide of 



282 THE EXPERT HOUSE PAINTER 

manganese in coarse powder, But not dusty, with ten 
parts of raw linseed oil ; keep it heated and frequently 
stirred for 30 hours, or until the oil begins to turn 
reddish. 

Fire-Proof Paint. — Mix the liquid as follows ; use 
any desired pigment with it. To 1 gal. of a mixture 
of equal parts of lime water and vinegar, add 8 oz. 
table salt and 4 oz. sulphate of zinc, each powdered. 
Boil the mixture, then add 1 gal. of boiled oil and re- 
peat the boiling. Take from fire and stir in I gal. 
of crude petroleum oil, heat again carefully now on 
account of fire, bring to the boiling point and it is done. 

Soda-Glue Solution. — This is sometimes used in 
making cheap ready-mixed paints. Water 200 gals., 
sal soda 5 lbs., borax 1 lb., glue 2 lbs. Mixes with any 
pigment to form a paint. 

Borax Solution. — Take 10 parts of borax, 30 
parts of coarsely pulverized shellac, and 200 parts of 
water; dissolve by steam bath for a few hours, and 
when cold filter; a few drops of glycerine will make 
it more pliable or elastic. 

Compound Lead-Zinc-Whiting Paint. — Mix to- 
gether 50 lbs. white lead ground in oil, 25 lbs. zinc 
white and 25 lbs. Paris white or gilders' best bolted 
whiting, both dry. First mix the lead by itself, then 
mix together the zinc and whiting by sifting the two, 
and mixing with oil; then mix this and the lead to- 
gether; run through strainer. 

Grain Paint. — This is the name for a cheap sur- 
facing paint, for old weather-beaten work, etc. Boil 
2 lbs. rye flour and while boiling add 2 lbs. of thinned 
old paint, stirring the mass until perfectly mixed. Ap- 
ply two coats. 

Surfacing Cracked Paint. — To save burning oft 
the cracked paint fill the fissures with a paste made 
as follows: Dissolve 2 oz. good glue in water, and 



USEFUL INFORMATION 283 

stir in it I lb. whiting and 2 oz. dry white lead. Make 
a paste thin enough to brush on, and, while the brush 
usually answers, you may use a putty or glazing knife 
also. When it has dried hard rub down smooth with 
sandpaper, apply three coats of paint, and you will 
have a smooth job. 

Remove Locks, Etc., Before Painting Door. — 
All hardware should be removed before repainting a 
door, and the same rule will apply to sash fasteners, 
etc. This will save time and make a nicer job than 
cutting around these things. 

Limewater for Paint. — To make a limewater 
emulsion paint, slake J4 bu. fresh stone lime in 40 gals, 
hot water, and let it stand 24 hours, then draw off the 
clear water for use. This lime water is to be added 
to raw linseed oil enough to change the condition of 
the oil; just how much must be left to judgment. 
Then stir in whatever pigment you wish to make the 
paint with. 

Another Formula for Making Emulsion Solu- 
tion. — This formula is one that was used by a man- 
ufacturer of ready mixed paints. So it should be 
good! 

Lime water 3 parts 

Lead and zinc solution 1J4 parts 

Sodium silicate solution 1H parts 

Benzine 5 parts 

Raw linseed oil 3 parts 

The lead and zinc solution is made with 2 parts of 
sugar of lead (lead acetate) and 4 parts of zinc sul- 
phate, dissolved in 16 parts of water. The silicate 
solution is made by dissolving 1 lb. of silicate of soda 
(water glass) in 1 gal. of warm water. 

A Milk Paint. — Into 1 gal. of whole milk stir 
about 3 lbs. Portland cement, and any dry color you 
may choose. Sour, skim, or buttermilk will do, but 



284 THE EXPERT HOUSE PAINTER 

the whole milk is best. Keep paint stirred all the time 
you are using it, it settles so. Said to wear well and 
last for years on barns, fences, etc. 

Flat Oil-Water Paint. — Place 50 lbs. gilders' 
whiting in a tub and cover it with water; let stand 
over night, then pour off surplus water and beat up 
the mass with 2 gals, hard oil or gloss oil, or any cheap 
varnish, thinning it a little, then add any desired col- 
oring. Then thin it down with benzine or turpentine, 
the former cheapest, until of proper brushing consist- 
ency. Dries flat. 

How to Thin Oil Paint with Water. — Place 
1 lb. of bleached shellac gum and J^ lb. sal soda in a 
porcelain vessel and cover with water; place on stove 
and bring to a boil, continuing until the gum and soda 
have dissolved. When cool it may be put in bottles. 
To use, add at rate of y 2 pint to 1 qt. of paint. Stir 
it in, and after the paint has become thick add water 
to bring it to a brushing consistency. 

To Make Drying Oil. — To y 2 gal. water add 1 lb. 
sugar of lead; shake occasionally, and when the lead 
is dissolved add 2 qts. water, then filter the solution 
and add 3 gals, raw linseed oil. Stir into it 1 lb. pow- 
dered litharge; shake often, then let it stand several 
days. The oil found on top of this will be the drying 
oil; it must be poured off into another vessel. This 
liquid is clear and bright and dries in about 24 hours. 

Some Cheap Paint Formulas. — Take two parts 
Venetian red and one part gilders' whiting; mix to a 
paste with raw oil and thin out with benzine one part 
and raw oil three parts, and 1/7 as much of rosin oil 
as of the other liquids combined. Mix 1 lb. each bi- 
carbonate of soda and phosphate of soda dissolved in 
hot water and stirred into the paint. 

Glue Sizing Hard Finish Wall. — How should 
glue size be used under paint so the paint won't peel 



USEFUL INFORMATION 285 

off? First apply a coat of flat wall paint, and when 
this is dry give it a thin coat of glue-and-alum size. 
Finish with a coat of flat oil paint. The paint won't 
peel off. 

To Hasten the Drying of Oil Paint. — If you 
use too much driers, it will soften the paint. It will 
also retard the drying. Try adding one-fourth as much 
water glass as you have of paint. 

To Soften Hard White Lead. — Dig it out of the 
container and place it in a vessel, over it pour hot 
water. In a few hours the lead will be soft enough 
to work in oil, and it should be mixed at once, as it 
goes hard again if left to get cold. 

Flat Oil-Turpentine Paint. — Use white lead or 
zinc white, or the two together, and add color or leave 
it white, and thin out with turpentine. This is sim- 
ply a dull, not a flat paint, owing to its oil content. 
The addition of a little good hard-drying varnish will 
improve it, and make it washable. 

Emulsion Paint Solution. — This emulsion liquid 
may be used with any base, white lead or inferior white 
base pigment. 

Concentrated lye, potash lib. 

Dissolved in water 1 gal. 

Fresh slaked lime 2 lbs. 

Slaked in water 4 gals. 

Good glue 1 lb. 

Dissolved in water 1 gal. 

Zinc sulphate 2 lbs. 

Dissolved in water 3 gals. 

Whiting 100 lbs. 

Prepare the four solutions in separate vessels. Add 
the lye to the limewater, pour in the glue solution, 
and finally add the zinc solution. Add water to make 
20 gals, and stir in the whiting. 

Painting over Coal Tar. — Scrape off all you can 



286 THE EXPERT HOUSE PAINTER 

of the tar, then apply a thin coat of brown shenac 
varnish. 

Painting Stucco Decorations. — First brush off 
the work and make it clean. Prime with equal parts 
of white lead, red lead and boiled oil, by weight. The 
second coat, white lead with driers; color if desired. 
Thin this coat with two parts boiled oil and one part 
turpentine. Third coat the same, and if a fourth coat 
is desired, use no turpentine in it. 

Painting Canvas for Roof or Floor. — Say it is 
an 8 oz. canvas, stretch it and tack it with galvanized 
tacks. After painting the under side and allowing it 
to dry wet the upper side with water, then paint it 
while it is damp. It is found that this method makes 
the canvas water-proof. 

Why Iron Oxide Paint Loses Luster. — This 
often occurs with iron oxide paint when mixed with 
raw oil, and more especially when some turpentine has 
been added. Thin with boiled oil, adding a little good 
spar varnish or japan gold size. 

Painting Horse Stables. — Ordinary house paint 
will do, but avoid any pigment that is affected by 
ammonia and sulphur. White lead will not do. 

Repainting Sanded Work. — If the old sand is in 
good condition you can paint over it and sand it. But 
if not in good condition then remove all the old sand 
and resand it. Scrape off the old sand, as it cannot 
easily be burned off. Before scraping, wet the surface 
with benzol or paint remover to soften it. 

When Is the Best Season for Exterior Paint- 
ing? — Opinions differ, but most of the standard au- 
thorities agree that a temperature of from 55 deg. to 
80 deg. Fahr., with an atmosphere that is as free from 
moisture as possible, gives the best results, 

Paint for Wire Screen. — Take drop black, 



USEFUL INFORMATION 287 

ground in oil, and about a third as much asphaltum 
varnish as black, and thin with turpentine ; add a little 
driers; strain. 

Paint for Structural Work. — A paint that was 
used on the elevated roads of New York was made as 
follows : Finely ground red oxide of iron 7^2 parts, 
boiled linseed oil 9 parts, turpentine 1 part. 

Varnish in Outside Paint. — A little spar var- 
nish of good quality in the paint for the outside of a 
building will tend to toughen the paint and give it a 
fine, lustrous appearance, but as a general thing it is 
not advised. 

Painting in Frosty Weather. — A little turpen- 
tine added to the oil paint used in winter on the out- 
side will tend to prevent wrinkling and cause the paint 
to spread easier. But do not use too much, as it will 
injure the gloss. 

When Is Paint Dry? — In other words, how long 
a time should intervene between one coat and the 
next? In a general way we would say 24 hours, but 
circumstances must be considered. One painter says 
he allows ten days, or even more, according to the 
weather. But this is too long. As a rule 24 hours 
is enough. In theory it is better to not allow too 
much time between coats, for when the paint is still 
fresh and elastic it will absorb some of the oil of the 
succeeding coat and thus give it an anchorage, the two 
coats amalgamating. 

Insoluble White Shellac Gum. — When shellac 
gum has been over-treated with chlorine it is apt to 
be insoluble in alcohol, but if it is first moistened with 
1/20 of its weight of ether and allowed to swell in 
a closed vessel its solubility is restored. 

What Is Prepared Rosin ? — It is a synthetic rosin. 
An artificial rosin. [There are several grades of rosin, 



288 THE EXPERT HOUSE PAINTER 

as used by makers of varnish, one called water-white 
rosin, which is the highest priced one, and is used in 
making shellac substitutes. 

A New Paint and Varnish Remover. — This is a 
wire brush woven upon a strip of heavy canvas, the 
teeth set at an angle which engages whatever has to 
be removed. This strip is secured by a screw be- 
tween two wooden blocks and can be replaced in a 
moment. It is said to have durability and may be 
worn down to the face of the canvas. It is claimed 
to remove paint or varnish from floors and other 
places quicker than any other tool for the purpose on 
the market. The tool sells for less than one dollar. 

A Shop Paint Mixer. — This machine has been on 
the market several years, and is a perfectly satisfac- 
tory machine for the purpose; there are sizes adapted 
for large and small batches of paint. They will re- 
pay their cost in no time, saving time and labor. 

Clear Varnish for Enamel Paint. — Add 2 qts. 
of strong denatured grain alcohol to 4 gals, of damar 
varnish and shake well. While the resultant varnish 
will look dark it will not affect the finish at all; the 
purpose of the alcohol is to remove the opalescence 
of the damar varnish, and you get a clear, transparent 
liquid, which also makes the varnish dry harder. An- 
other clear varnish may be made by dissolving a pound 
of gum sandarach and 4 oz. of clear Venice turpen- 
tine in 4 oz. of 94% alcohol in a hot water bath, with 
gentle heat. When the gum is dissolved and while still 
warm filter through fine muslin. 

To Bronze Ironwork. — To a pint of alcohol add 
4 oz. gum shellac and J4 oz. benzoin; set in warm 
place and agitate once in a while. After the gums 
have dissolved allow the mass to settle two days in 
a cool place. Then pour off the clear part into an- 
other bottle, which keep well corked. To what was 



USEFUL INFORMATION 289 

left in the first bottle add enough alcohol to make it 
work easy, strain through a fine cloth, and use as a 
primer. Now take ^2 lb. finely ground bronze, thin 
it with varnish, and add coloring matter. If possible, 
warm the iron a little, and apply the bronze with a 
soft brush; repeat if necessary. A coat of varnish 
will protect the bronze. The color of the bronze may 
be varied with lampblack, ocher, etc. Parts in relief 
may be done with bronze of any desired color. Coat 
until you have a uniform and solid surface; protect 
with varnish. 

Painting Steel Water Tank. — Red lead paint 
should be used on first coat, and there is no better 
paint for the succeeding coats. The exterior may be 
done with any carbon paint, say, graphite. 

Paint for Structural Ironwork. — A railway 
paint chemist gives the following formula: French 
yellow ocher 39 lbs., lampblack 1 lb., raw linseed oil 
54 lbs., japan drier 6 lbs. 



